[{"id":3892,"title":"Koop bij Jan Fabre","dimensions":"63,5 x 50 cm","date_begin":"1979-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":76,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"Collection MuHKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0356","stream_count_app":8,"permalink":"koop-bij-jan-fabre","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3894,"title":"Art Love - Jan Fabre - Luc Vermeulen - Frits Francken Gallery (T.W.C.)","dimensions":"50 x 26 cm","date_begin":"1978-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":76,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"Collection MuHKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0357_1","stream_count_app":8,"permalink":"art-love-jan-fabre-luc-vermeulen-frits-francken-gallery-t-w-c","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3879,"title":"The Rea(dy) Made of the Performance Money","dimensions":"00:07:13","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eTranslation of Marijn van der Jagt\u0026#39;s: \u0026#39;Alles wordt bewaard, ook al bewaar ik het niet\u0026#39;, [Everything gets preserved, eventhough I don\u0026#39;t preserve], in Jan Fabre: Drawings, models \u0026amp; objects. Theatre, performances \u0026amp; actions, 1989, p. 23-24, (cat. at PMMK-ttstl.).\u003c/p\u003e\r\n","date_end":null,"reference":"S0353","stream_count_app":17,"permalink":"the-rea-dy-made-of-the-performance-money","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/023/large/fabre-jan-1958-belgium-the-rea-dy-make-of-the-perform-3059664-500-500-3059664.jpg?1332427529","poster_credits":"(c)image: Angelos","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;In 1980 Jan Fabre creates a second performance about money, naming it \u0026#39;The Rea(dy) Make of the Performance Money\u0026#39;. This time Fabre doesn\u0026#39;t start with collecting money: instead he takes the chest containing the entry-fees on stage and uses it\u0026#39;s contents. He counts the money followed by the audience. Again, Fabre presents himself as the consumer of money: he cuts into it, and places it under his table and chair as to pinpoint him covering the floor with it. But Fabre doesn\u0026#39;t stop at the floor, he dresses himself with the money: he appears in a suit covered with it. De artist that expensively \u0026#39;suits-up\u0026#39; on the spectators costs or the artist that declares that he has to make a living of art and claims that is the responsibility of the spectator to support his lifestyle. The artist as a leach, a beggar, or a whore even, it is up to the spectator the interpreted which one. Although Fabre has been asked multiple times to repeat his first money-performance, this remake wasn\u0026#39;t a rerun. With this Fabre maintained the honors of the unique and once-in-a-lifetime character of the performance. He does let elements of the first performance reappear in the remake. Part of the \u0026#39;The Rea(dy) Make of the Performance Money\u0026#39; was an exhibition of the remains of the performance: cut-up money, an aircraft folded from money and photographs and even some short films of the performance. The remains, carefully wrapped in plastic, Fabre places on the floor and with arrows made of money he formes a path through the exhibition. Afterwards he invites the audience to enter the stage and regard the exhibition. Fabre himself leaves the stage, leaving the audience alone in his theatre of memory. The object that most reveals the function of the remains is the in plastic wrapped film. It serves to recreate the past, otherwise it would have been played in front of the audience. The plastic elements are relics, objects that cary the moment of the event but at the same time mystify it.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eTranslation of Marijn van der Jagt\u0026#39;s: \u003cem\u003e\u0026#39;Alles wordt bewaard, ook al bewaar ik het niet\u0026#39;\u0026nbsp;\u003c/em\u003e[Everything gets preserved, eventhough I don\u0026#39;t preserve], in \u003cem\u003eJan Fabre: Drawings, models \u0026amp; objects. Theatre, performances \u0026amp; actions\u003c/em\u003e, 1989, p. 23-24, (cat. at PMMK-ttstl.).\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;In 1980 Jan Fabre creates a second performance about money, naming it \u0026#39;The Rea(dy) Make of the Performance Money\u0026#39;. This time Fabre doesn\u0026#39;t start with collecting money: instead he takes the chest containing the entry-fees on stage and uses it\u0026#39;s contents. He counts the money followed by the audience. Again, Fabre presents himself as the consumer of money: he cuts into it, and places it under his table and chair as to pinpoint him covering the floor with it. But Fabre doesn\u0026#39;t stop at the floor, he dresses himself with the money: he appears in a suit covered with it. De artist that expensively \u0026#39;suits-up\u0026#39; on the spectators costs or the artist that declares that he has to make a living of art and claims that is the responsibility of the spectator to support his lifestyle. The artist as a leach, a beggar, or a whore even, it is up to the spectator the interpreted which one. Although Fabre has been asked multiple times to repeat his first money-performance, this remake wasn\u0026#39;t a rerun. With this Fabre maintained the honors of the unique and once-in-a-lifetime character of the performance. He does let elements of the first performance reappear in the remake. Part of the \u0026#39;The Rea(dy) Make of the Performance Money\u0026#39; was an exhibition of the remains of the performance: cut-up money, an aircraft folded from money and photographs and even some short films of the performance. The remains, carefully wrapped in plastic, Fabre places on the floor and with arrows made of money he formes a path through the exhibition. Afterwards he invites the audience to enter the stage and regard the exhibition. Fabre himself leaves the stage, leaving the audience alone in his theatre of memory. The object that most reveals the function of the remains is the in plastic wrapped film. It serves to recreate the past, otherwise it would have been played in front of the audience. The plastic elements are relics, objects that cary the moment of the event but at the same time mystify it.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eTranslation of Marijn van der Jagt\u0026#39;s: \u003cem\u003e\u0026#39;Alles wordt bewaard, ook al bewaar ik het niet\u0026#39;\u0026nbsp;\u003c/em\u003e[Everything gets preserved, eventhough I don\u0026#39;t preserve], in \u003cem\u003eJan Fabre: Drawings, models \u0026amp; objects. Theatre, performances \u0026amp; actions\u003c/em\u003e, 1989, p. 23-24, (cat. at PMMK-ttstl.).\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003e\u0026quot;In 1980 Jan Fabre creates a second performance about money, naming it \u0026#39;The Rea(dy) Make of the Performance Money\u0026#39;. This time Fabre doesn\u0026#39;t start with collecting money: instead he takes the chest containing the entry-fees on stage and uses it\u0026#39;s contents. He counts the money followed by the audience. Again, Fabre presents himself as the consumer of money: he cuts into it, and places it under his table and chair as to pinpoint him covering the floor with it. But Fabre doesn\u0026#39;t stop at the floor, he dresses himself with the money: he appears in a suit covered with it. De artist that expensively \u0026#39;suits-up\u0026#39; on the spectators costs or the artist that declares that he has to make a living of art and claims that is the responsibility of the spectator to support his lifestyle. The artist as a leach, a beggar, or a whore even, it is up to the spectator the interpreted which one. Although Fabre has been asked multiple times to repeat his first money-performance, this remake wasn\u0026#39;t a rerun. With this Fabre maintained the honors of the unique and once-in-a-lifetime character of the performance. He does let elements of the first performance reappear in the remake. Part of the \u0026#39;The Rea(dy) Make of the Performance Money\u0026#39; was an exhibition of the remains of the performance: cut-up money, an aircraft folded from money and photographs and even some short films of the performance. The remains, carefully wrapped in plastic, Fabre places on the floor and with arrows made of money he formes a path through the exhibition. Afterwards he invites the audience to enter the stage and regard the exhibition. Fabre himself leaves the stage, leaving the audience alone in his theatre of memory. The object that most reveals the function of the remains is the in plastic wrapped film. It serves to recreate the past, otherwise it would have been played in front of the audience. The plastic elements are relics, objects that cary the moment of the event but at the same time mystify it.\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eTranslation of Marijn van der Jagt\u0026#39;s: \u003cem\u003e\u0026#39;Alles wordt bewaard, ook al bewaar ik het niet\u0026#39;\u0026nbsp;\u003c/em\u003e[Everything gets preserved, eventhough I don\u0026#39;t preserve], in \u003cem\u003eJan Fabre: Drawings, models \u0026amp; objects. Theatre, performances \u0026amp; actions\u003c/em\u003e, 1989, p. 23-24, (cat. at PMMK-ttstl.).\u003c/p\u003e\r\n"}]},{"id":3912,"title":"After Art, no Image only Smell","dimensions":"","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":58,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"A translation of 'Alles wordt bewaard, ook al bewaar ik het niet' [Everything will be preserved, eventhough I don' preserve it], in: Jan Fabre, Drawings, modeles \u0026 objects. Theatre, performances \u0026 actions, 1989, p. 22 (cat. at PMMK-ttstl.)\r\n\r\nImpressies van het leven in en rondom ons en vooral onze getormenteerde wereld met klimaatopwarming of rampen vormen een onuitputtelijke inspiratiebron voor Christel Druyts (°1945). Ook de creaties van andere kunstenaars inspireren haar. Zo hebben vooral de bic-kunst werken van Fabre en zijn creaties met kevers, aanleiding gegeven tot het maken van de ets *Kriebeling* een reflectie en eerbetoon aan de veelzijdigheid van de meester.","date_end":null,"reference":"S0372","stream_count_app":25,"permalink":"after-art-no-image-only-smell","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/000/013/031/large/jurgen_addiers_M_hka_113.jpg?1350982859","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"*\"In the beginning of Fabres 'After Art' performance (1980) the floor reveals the outlining of a man, made with shaving-cream. Fabre steps inside the outlining, removes his own clothes and dresses himself with clothes lying on the floor, precisely inside the outlining of the man. A white shirt, white trousers and white slippers. With those items Fabre becomes the (white) anonymous man on the floor: after redressing he wipes away the shaving-cream outlining. With this ritual start Fabre gives himself a whole new identity, bringing his own outlining, his own drawing, to life. An abstract image with which he gives himself, for the durance of the performance, an artificial double: the artist Jan Fabre. During the performance he keeps on referring to this double.* \r\n\r\n*The performance is divided into separate acts, between those acts Fabre regards himself in a mirror; almost as to study his appearance. Afterwards he walks in a circle around the outlining, still vaguely visible after been wiped out. Again and again Fabre emphasizes the fact that the performance is not about himself but about a certain view of him, a separation of his person.\"*"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3911,"title":"Bic-dweilen [Bic Rags]","dimensions":"70 x 56 cm","date_begin":"1979-01-01","material":"textile","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":58,"platform_id":1,"deleted":false,"asset_count":31,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2006-01-01","reference":"S0371","stream_count_app":96,"permalink":"bic-dweilen-bic-rags","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":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/000/017/542/large/Fabre_photo_Angelos.jpg?1369830194","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eBic-dweilen [Bic Floor-Cloths]\u003c/em\u003e\u0026nbsp;is a in 2006 reconstructed installation from 1979 of the work that originally was presented on the exhibition \u003cem\u003e\u0026quot;Bic-dweilen en wetspotten\u0026quot;\u003c/em\u003e [Bic-mopping and wetspotting] in the Jordaenshouse, Antwerp. In this installation Jan Fabre uses a ballpoint pen (Bic) to draw and write on those typical Belgian floor-cloths with a three-colour stripe. \u003cem\u003eBic Floor-Cloths\u003c/em\u003e is part of the artist\u0026rsquo;s extensive Bic Art production. Every imaginable type of support, ranging from small sheets of drawing paper, sheets many metres in size, mattresses and sarcophagi to the Tivoli Mansion in Mechelen, is covered in blue ballpoint ink.\u003c/p\u003e\r\n\r\n\u003cp\u003eJan Fabre also does performances in which he draws in blue ballpoint on reproductions by major artists and then uses them as backdrops in theatre performances. For many years he used the blue ballpoint pen as his paintbrush. The use of ballpoint pens has several connotations. In this installation it is used as an ironic commentary on the world of art. The floor-cloths are covered with drawings and slogans such as \u0026lsquo;Love art live\u0026rsquo;, \u0026lsquo;I am doomed to art\u0026rsquo; and so on. In the floor-cloths and the use of ballpoint, the artist reveals his preference for everyday, commonplace materials.\u003c/p\u003e\r\n\r\n\u003cp\u003eFabre comments on the sacredness of the art world. The artist himself describes this collection of floor-cloths as \u0026lsquo;absorbable art\u0026rsquo;, thereby putting its status into perspective. On the one hand he uses language as a weapon to place himself within a certain system \u0026ndash; in this case that of art history and art criticism \u0026ndash; while at the same time undermining the system concerned.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eBic-dweilen\u003c/em\u003e\u0026nbsp;is een in 2006 gereconstrueerde installatie uit 1979, van een werk dat oorspronkelijk werd gepresenteerd tijdens de tentoonstelling \u0026quot;Bic-dweilen en wetspotten\u0026quot; in het Jordaenshuis, Antwerpen. In deze installatie gebruikt Jan Fabre de typische Belgisch-driekleurige gestreepte dweilen om met bic op te tekenen en te schrijven. De Bic-dweilen maken deel uit van de omvangrijke Bic Art-productie van de kunstenaar. Alle denkbare dragers worden \u0026lsquo;geblauwbict\u0026rsquo;: kleine tekenvellen naast metersgrote vellen tekenpapier, matrassen en sarcofagen tot het Kasteel Tivoli in Mechelen.\u003c/p\u003e\r\n\r\n\u003cp\u003eJan Fabre ook performances uit waarin hij onder andere reproducties van grote schilders bewerkt met een blauwe bic en gebruikt deze in theatervoorstellingen als achtergrond. De blauwe bic werd een tijdlang het penseel van de kunstenaar. Het gebruik van de bic heeft meerdere connotaties. In deze installatie wordt het \u0026lsquo;biccen\u0026rsquo; vooral ingezet als een ironisch commentaar op de kunstwereld. Op de dweilen staan tekeningen en slogans als \u0026lsquo;Love art live\u0026rsquo;, \u0026lsquo;Ik ben gedoemd tot kunst\u0026rsquo;,\u0026hellip; Zowel in de dweilen als in het gebruik van bic toont zich de voorkeur van de kunstenaar voor alledaags, banaal materiaal.\u003c/p\u003e\r\n\r\n\u003cp\u003eFabre levert een commentaar op de sacraliteit van de kunstwereld. De kunstenaar omschrijft deze verzameling dweilen zelf ook als \u0026lsquo;opneembare kunst\u0026rsquo; en relativeert hiermee hun positie. Hij gebruikt de taal als wapen om zich enerzijds binnen een bepaald systeem \u0026ndash; in dat geval dat van de kunstgeschiedenis en de kunstkritiek - te positioneren, \u0026eacute;n om het betreffende systeem tegelijk te ondermijnen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003ePour cette installation, Fabre dessine et \u0026eacute;crit sur des serpilli\u0026egrave;res ray\u0026eacute;es, typiques en Belgique, avec un Bic. Les Bic-dweilen (serpilli\u0026egrave;res Bic) font partie de l\u0026rsquo;imposante production Bic-Art de cet artiste. Tous les supports imaginables sont \u0026lsquo;couverts de Bic bleu\u0026rsquo; : des feuillets \u0026agrave; dessin c\u0026ocirc;toyant de grandes feuilles de dessin d\u0026rsquo;un m\u0026egrave;tre, des matelas et des sarcophages, jusqu\u0026rsquo;au ch\u0026acirc;teau de Tivoli \u0026agrave; Malines.\u003c/p\u003e\r\n\r\n\u003cp\u003eIl effectue \u0026eacute;galement des performances au cours desquelles il retravaille notamment des reproductions de grands peintres avec du Bic bleu et les utilise comme d\u0026eacute;cors pour des pi\u0026egrave;ces de th\u0026eacute;\u0026acirc;tre. Le Bic bleu fut longtemps le pinceau de l\u0026rsquo;artiste. L\u0026rsquo;utilisation du Bic a plusieurs connotations. Dans cette installation, le fait de tout couvrir de Bic se veut surtout un commentaire ironique sur le monde de l\u0026rsquo;art. Sur les serpilli\u0026egrave;res, on d\u0026eacute;couvre des dessins et des slogans tels \u0026lsquo;Love art live\u0026rsquo;, \u0026lsquo;Ik ben gedoemd tot kunst\u0026rsquo;, (je suis condamn\u0026eacute; \u0026agrave; l\u0026rsquo;art), \u0026hellip;Tant \u0026agrave; travers les serpilli\u0026egrave;res que dans l\u0026rsquo;utilisation du Bic, on per\u0026ccedil;oit la pr\u0026eacute;dilection de l\u0026rsquo;artiste pour le mat\u0026eacute;riau ordinaire, banal.\u003c/p\u003e\r\n\r\n\u003cp\u003eFabre livre un commentaire sur la sacralit\u0026eacute; du monde de l\u0026rsquo;art. L\u0026rsquo;artiste d\u0026eacute;crit cette collection de serpilli\u0026egrave;res comme un \u0026lsquo;art que l\u0026rsquo;on peut ramasser\u0026rsquo; et relativise ainsi leur position. Il utilise le langage comme arme pour se positionner d\u0026rsquo;une part dans un certain syst\u0026egrave;me \u0026ndash; dans ce cas, celui de l\u0026rsquo;histoire de l\u0026rsquo;art et de la critique d\u0026rsquo;art \u0026ndash; mais aussi, pour miner le syst\u0026egrave;me en question.\u003c/p\u003e\r\n"}]},{"id":3905,"title":"Red Lines Performance","dimensions":"193.5 x 131.5 cm","date_begin":null,"material":"photo print","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":23,"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":"S0367","stream_count_app":13,"permalink":"red-lines-performance","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/000/007/760/large/Foto%20op%2016-03-2012%20om%2013.19.jpg?1331900477","poster_credits":"(c)Angelos bvba, Collection M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u0026quot;Digitalised file with photographs and blow-up of a performance in the streets with the dutch poet Albert Hagenaars.\u0026quot;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u0026quot;Gedigitaliseerd bestand met foto\u0026#39;s en blow-up van een performance in de straten met de Nederlandse dichter Albert Hagenaars.\u0026quot;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":3855,"title":"Fantasie-insecten-sculpturen [Imaginary-insect-sculptures]","dimensions":"130 x 65 x 90 cm","date_begin":"1979-01-01","material":"spiders, abacus, shell-cocoon ","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":58,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Collection M HKA / Collection Flemish Community","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":77,"permalink":"fantasie-insecten-sculpturen-imaginary-insect-sculptures","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eSchon im Alter von 20 Jahren machte Jan Fabre Zeichnungen von Insekten und transformierte er Insekten wie K\u0026auml;fer in surrealistische Objekte. Fabre will die Insektenwelt, die wir meistens eher verbinden mit Angst und H\u0026auml;sslichkeit, von seiner meist pr\u0026auml;chtigen und interessanten Seite zeigen.\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 Fabre","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/000/014/735/large/fantasie.jpg?1465913478","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eAlready at the age of twenty, Jan Fabre makes insect drawings and transforms insects (e.g. beetles) into surreal objects. Fabre wants to show the world of insects, which we usually connect with fear and ugliness, from its most brilliant and interesting side.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eAl op twintigjarige leeftijd maakt Jan Fabre insectentekeningen en transformeert hij insecten zoals kevers tot surre\u0026euml;le objecten. Fabre wil de wereld van de insecten, die we meestal eerder verbinden met angst en lelijkheid, tonen van zijn schitterendste en interessantste kant.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eD\u0026egrave;s l\u0026rsquo;\u0026acirc;ge de vingt ans, Jan Fabre r\u0026eacute;alise des dessins d\u0026rsquo;insectes et transforme des col\u0026eacute;opt\u0026egrave;res en objets surr\u0026eacute;els. Fabre souhaite montrer le monde de ces petits animaux, qu\u0026rsquo;on associe en g\u0026eacute;n\u0026eacute;ral plut\u0026ocirc;t \u0026agrave; la peur et \u0026agrave; la laideur, \u0026agrave; travers son aspect le plus \u0026eacute;blouissant et le plus int\u0026eacute;ressant.\u003c/p\u003e\r\n"}]},{"id":3913,"title":"Avant Grade","dimensions":"117 x 10 cm","date_begin":"1981-01-01","material":"ivory, pencil","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp / Schenking van de kunstenaar","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0373","stream_count_app":29,"permalink":"avant-grade","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/012/876/large/Fabre__Jan_Avant_Grade__1981_photo_M_HKA.jpg?1349791856","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u0026quot;Tusk of a elephant bebict [written on in pen].\u0026quot;\u003c/strong\u003e\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u0026quot;Slagtand van een olifant bebict\u0026quot;\u003c/strong\u003e\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003e\u0026laquo;\u0026nbsp;D\u0026eacute;fense d\u0026rsquo;\u0026eacute;l\u0026eacute;phant stylobill\u0026eacute;e\u0026nbsp;\u0026raquo;\u003c/strong\u003e\u003c/p\u003e\r\n"}]},{"id":3903,"title":"Window Performance","dimensions":"63 x 93 cm","date_begin":"1977-01-01","material":"photo print","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":23,"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\u003e\u0026quot;Photograph of the performance in the Offerandestreet, reprint 2006.\u0026quot; \u0026quot;Photograph of the performance in the Offerandestreet, reprint 2006. I am happy when I create. I am even happier when I let others create for me. And I am happiest when I encounter or hear something of which I believed it to be impossible. Beauty lies in the most bizarre places. {Jan Fabre, Journal fragment, Antwerp, May 6th 1987}\u0026quot;\u003c/p\u003e\r\n","date_end":null,"reference":"S0365_1","stream_count_app":25,"permalink":"window-performance--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/000/007/375/large/Foto%20op%2008-03-2012%20om%2014.21.jpg?1331213032","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003eIn 1977 the young Jan Fabre gave a street performance in a shop window in Offerandestraat, one of Antwerp\u0026rsquo;s busy shopping streets. He let snails painted with the Belgian tricolour crawl over his bare skin. \u003cem\u003eWindow Performance\u003c/em\u003e\u0026nbsp;is an example of Jan Fabre\u0026rsquo;s early artistic practice, which consisted largely of performances and which contained the seeds of his later theatre work. In all his performances, as well as his later work for the stage, the main focus is on the physical, bodily consciousness. Both this early work and what followed later are also characterised by a great sense of timing, staging and the arrangement of space. Fabre\u0026rsquo;s actions are linked to the wave of happenings that took place in the 60s and 70s. The artist himself says that he \u0026lsquo;discovered\u0026rsquo; the performance when he was working as a window dresser and was confronted with passers-by and their reactions. These elements typify the whole of Jan Fabre\u0026rsquo;s oeuvre: direct confrontation, the provocation of his public, the arrangement of objects and looking for the right place for things. The snails fit perfectly into the artist\u0026rsquo;s personal iconography, in which animals and insects play an important part. The snail is a good example of the notion of the absent in the present, of appearance and disappearance, and of metamorphosis, which is one of the main components of Fabre\u0026rsquo;s visual idiom.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn 1977 voerde de jonge Jan Fabre in een etalage in de Offerandestraat in Antwerpen, een drukbezochte winkelstraat, een straatperformance uit. Hij liet slakken, beschilderd in de Belgische driekleur, over zijn naakte huid kruipen. \u003cem\u003eWindow Performance\u003c/em\u003e\u0026nbsp;maakt deel uit van de vroege artistieke praktijk van Jan Fabre die in hoofdzaak uit performances bestaat en waarin de oorsprong ligt van zijn latere theaterwerk. In alle performances van de kunstenaar, net als in zijn latere theaterwerk, staat het fysieke, lichamelijke bewustzijn centaal. Ook het groot gevoel voor timing, enscenering en voor ruimteverdeling kenmerken zowel dit vroege werk als het vervolg. De acties van Fabre sluiten aan bij de golf van happenings van de jaren \u0026rsquo;60 en \u0026rsquo;70. De kunstenaar vertelt zelf dat hij de performance \u0026lsquo;ontdekte\u0026rsquo; toen hij als etalagist werkte en geconfronteerd werd met (de reacties van) voorbijgangers. Deze directe confrontatie, het uitdagen van zijn publiek, het schikken van voorwerpen en het zoeken naar de juiste plaats voor de dingen kenmerken het hele oeuvre van Jan Fabre. De slakken passen perfect in de persoonlijke iconografie van de kunstenaar waarin dieren en insecten een belangrijke plaats innemen. De slak is een mooi voorbeeld van de idee van het afwezige en het aanwezige, van het verschijnen en verdwijnen, van de gedaanteverwisseling, een centraal gegeven in de beeldtaal van Fabre.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEn 1977, le jeune Jan Fabre r\u0026eacute;alise une performance de rue dans un \u0026eacute;talage de la Offerandestraat, une rue marchande tr\u0026egrave;s fr\u0026eacute;quent\u0026eacute;e \u0026agrave; Anvers : il fait glisser sur sa peau nue des escargots \u0026agrave; la coquille peinte aux couleurs du drapeau belge. \u003cem\u003eWindow Performance\u003c/em\u003e remonte aux d\u0026eacute;buts de la carri\u0026egrave;re de Jan Fabre. \u0026Agrave; l\u0026rsquo;\u0026eacute;poque, sa pratique se compose principalement de performances et celles-ci sont \u0026agrave; l\u0026rsquo;origine de sa future \u0026oelig;uvre th\u0026eacute;\u0026acirc;trale. Jan Fabre place la conscience physique et corporelle au c\u0026oelig;ur de toutes ses performances et ses spectacles. D\u0026egrave;s ses d\u0026eacute;buts et tout au long de sa carri\u0026egrave;re, l\u0026rsquo;\u0026oelig;uvre de Fabre se caract\u0026eacute;rise par ailleurs par un sens aigu du minutage, de la mise en sc\u0026egrave;ne et de la prise d\u0026rsquo;espace. Les actions de l\u0026rsquo;artiste s\u0026rsquo;inscrivent dans la vague des happenings des ann\u0026eacute;es 60 et 70. Il raconte qu\u0026rsquo;il a \u0026lsquo;d\u0026eacute;couvert\u0026rsquo; la performance quand il travaillait en tant qu\u0026rsquo;\u0026eacute;talagiste et faisait face aux (r\u0026eacute;actions des) passants. Cet affrontement direct, le d\u0026eacute;fi lanc\u0026eacute; au public, la disposition et la recherche du lieu appropri\u0026eacute; pour les objets caract\u0026eacute;risent l\u0026rsquo;ensemble de l\u0026rsquo;\u0026oelig;uvre de Jan Fabre. Les escargots correspondent parfaitement \u0026agrave; l\u0026rsquo;iconographie personnelle de l\u0026rsquo;artiste dans laquelle les animaux et les insectes occupent une place pr\u0026eacute;pond\u0026eacute;rante. L\u0026rsquo;escargot incarne l\u0026rsquo;id\u0026eacute;e de l\u0026rsquo;absence et de la pr\u0026eacute;sence, de l\u0026rsquo;apparition et de la disparition, et de la m\u0026eacute;tamorphose, un ph\u0026eacute;nom\u0026egrave;ne cl\u0026eacute; dans le langage visuel de Fabre.\u003c/p\u003e\r\n"}]},{"id":3851,"title":"De Heilige Pillendraaier [The Dung Beetle]","dimensions":"16 x (24.5 x 31.8 cm)","date_begin":"1978-01-01","material":"pencil, ink, paper","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":20,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK6948_M173C","stream_count_app":39,"permalink":"de-heilige-pillendraaier-the-dung-beetle","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/715/large/JF_De_heilige_pillendraaier_1978.jpg?1473412965","poster_credits":"(c)image: Syb'l S'Pictures","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3926,"title":"8mm Films","dimensions":"","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":21,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1982-01-01","reference":"S0354","stream_count_app":44,"permalink":"8mm-films","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/025/970/large/Fabre__Jan__Vechtpartij__1980-82_still1.jpg?1416826942","poster_credits":"(c)Jan Fabre, (c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003eEdition published by the Association for the Museum of Contemporary Art - Ghent 1991, 17/50\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e16 8mm films titled\u003c/strong\u003e: 1) De eindstreep [The Finishing Line], 2) Vechtpartij [Brawl], 3) Russische Roulette [Russian Roulette], 4) Struisvogel met sarmazak [Ostrich with Sarma Bag], 5) Op en neer, op en neer [Up and Down, Up and Down], 6) Hand geeft tekens [Hand Makes Signs], 7) Pol en zijn das [Paul and his Tie], 8) Zelfwurging [Self-strangulation], 9) Dansende voetjes [Dancing Feet], 10) Kussende mond / gesloten en open ogen [Kissing Mouths/eyes open and closed], 11) Nieuwe huid [New Skin], 12) Brandende lucifer [Burning Match], 13) Fonteintje [Fountain], 14) Gestraft?\u0026nbsp;[Punished?], 15) Blazen en zuigen [Sucking and Blowing], 16) Contactstoornissen [Contact Disorder].\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEditie uitgegeven door de Vereniging voor het Museum van Hedendaagse Kunst - Gent 1991. Oplage 50 exemplaren. 17/50.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e16 8mm films getiteld\u003c/strong\u003e: (1) De eindstreep, (2) Vechtpartij,\u0026nbsp;(3) Russische Roulette, (4) Struisvogel met sarmazak,\u0026nbsp;(5) Op en neer, op en neer, (6) Hand geeft tekens, (7) Pol en zijn das, (8) Zelfwurging,\u0026nbsp;(9) Dansende voetjes, (10) Kussende mond / gesloten en open ogen, (11) Nieuwe huid, (12) Brandende lucifer, (13) Fonteintje, (14) Gestraft?, (15) Blazen en zuigen, (16) Contactstoornissen.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":467,"title":"Mur de la montée des anges","dimensions":"142 x 53 cm","date_begin":"1993-01-01","material":"chicken wire, jewel beetles","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1993-01-01","reference":"BK6146_M132","stream_count_app":58,"permalink":"mur-de-la-montee-des-anges","description_ru":"","description_de":"","description_es":"","description_el":"\u003cp\u003e\u0026Alpha;\u0026nu; 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\u0026sigma;ώ\u0026mu;\u0026alpha; \u0026tau;\u0026eta;\u0026sigmaf; \u0026gamma;\u0026upsilon;\u0026nu;\u0026alpha;ί\u0026kappa;\u0026alpha;\u0026sigmaf; \u0026gamma;\u0026lambda;\u0026iota;\u0026sigma;\u0026tau;\u0026rho;ά \u0026sigma;\u0026tau;\u0026eta; \u0026sigma;\u0026kappa;\u0026iota;ά, \u0026pi;\u0026alpha;ί\u0026zeta;\u0026epsilon;\u0026iota; \u0026mu;\u0026epsilon; \u0026tau;\u0026omicron; \u0026phi;\u0026omega;\u0026sigmaf;. \u0026Tau;\u0026omicron; \u0026chi;\u0026rho;ώ\u0026mu;\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026eta; \u0026lambda;ά\u0026mu;\u0026psi;\u0026eta; \u0026tau;\u0026eta;\u0026sigmaf; \u0026beta;\u0026rho;\u0026alpha;\u0026delta;\u0026iota;\u0026nu;ή\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon;\u0026alpha;\u0026lambda;έ\u0026tau;\u0026alpha;\u0026sigmaf; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026epsilon;\u0026kappa;\u0026epsilon;ί\u0026nu;\u0026alpha; \u0026pi;\u0026omicron;\u0026upsilon; \u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026epsilon;\u0026lambda;\u0026kappa;ύ\u0026omicron;\u0026upsilon;\u0026nu; \u0026tau;\u0026eta;\u0026nu; \u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026omicron;\u0026chi;ή \u0026mu;\u0026alpha;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026tau;\u0026rsquo; \u0026alpha;\u0026rho;\u0026chi;ή\u0026nu;, \u0026kappa;\u0026alpha;\u0026iota; ό\u0026chi;\u0026iota; \u0026omicron; \u0026alpha;\u0026pi;\u0026epsilon;\u0026iota;\u0026lambda;\u0026eta;\u0026tau;\u0026iota;\u0026kappa;ό\u0026sigmaf; \u0026kappa;ό\u0026sigma;\u0026mu;\u0026omicron;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026epsilon;\u0026nu;\u0026tau;ό\u0026mu;\u0026omicron;\u0026upsilon;. Ό\u0026sigma;\u0026omicron; \u0026pi;\u0026iota;\u0026omicron; \u0026pi;\u0026omicron;\u0026lambda;ύ \u0026pi;\u0026lambda;\u0026eta;\u0026sigma;\u0026iota;ά\u0026zeta;\u0026omicron;\u0026upsilon;\u0026mu;\u0026epsilon; \u0026gamma;\u0026iota;\u0026alpha; \u0026nu;\u0026alpha; \u0026pi;\u0026alpha;\u0026rho;\u0026alpha;\u0026tau;\u0026eta;\u0026rho;ή\u0026sigma;\u0026omicron;\u0026upsilon;\u0026mu;\u0026epsilon; \u0026tau;\u0026eta; \u0026mu;\u0026alpha;\u0026tau;\u0026iota;έ\u0026rho;\u0026alpha; \u0026tau;\u0026eta;\u0026sigmaf; \u0026epsilon;\u0026pi;\u0026iota;\u0026phi;ά\u0026nu;\u0026epsilon;\u0026iota;\u0026alpha;\u0026sigmaf;, \u0026tau;ό\u0026sigma;\u0026omicron; \u0026sigma;\u0026upsilon;\u0026nu;\u0026epsilon;\u0026iota;\u0026delta;\u0026eta;\u0026tau;\u0026omicron;\u0026pi;\u0026omicron;\u0026iota;\u0026omicron;ύ\u0026mu;\u0026epsilon; \u0026tau;\u0026eta; \u0026beta;ί\u0026alpha; \u0026mu;\u0026epsilon; \u0026tau;\u0026eta;\u0026nu; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026alpha; \u0026tau;\u0026alpha; \u0026alpha;\u0026nu;\u0026alpha;\u0026rho;ί\u0026theta;\u0026mu;\u0026eta;\u0026tau;\u0026alpha; \u0026pi;\u0026tau;ώ\u0026mu;\u0026alpha;\u0026tau;\u0026alpha; \u0026epsilon;\u0026gamma;\u0026kappa;\u0026omicron;\u0026lambda;\u0026pi;ώ\u0026nu;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron; \u0026theta;\u0026eta;\u0026lambda;\u0026upsilon;\u0026kappa;ό \u0026kappa;ά\u0026lambda;\u0026lambda;\u0026omicron;\u0026sigmaf;. \u0026Tau;\u0026omicron; έ\u0026nu;\u0026alpha; \u0026sigma;ώ\u0026mu;\u0026alpha; \u0026kappa;\u0026alpha;\u0026tau;\u0026alpha;\u0026kappa;\u0026upsilon;\u0026rho;\u0026iota;\u0026epsilon;ύ\u0026epsilon;\u0026iota; \u0026tau;\u0026omicron; ά\u0026lambda;\u0026lambda;\u0026omicron;. \u0026Sigma;\u0026tau;\u0026omicron; \u0026beta;\u0026rho;\u0026alpha;\u0026delta;\u0026iota;\u0026nu;ό \u0026phi;ό\u0026rho;\u0026epsilon;\u0026mu;\u0026alpha; \u0026alpha;\u0026pi;ό έ\u0026nu;\u0026tau;\u0026omicron;\u0026mu;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Phi;\u0026alpha;\u0026mu;\u0026pi;\u0026rho;, \u0026eta; \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026mu;ό\u0026rho;\u0026phi;\u0026omega;\u0026sigma;\u0026eta; \u0026kappa;\u0026alpha;\u0026iota; \u0026eta; \u0026mu;\u0026epsilon;\u0026tau;ά\u0026pi;\u0026lambda;\u0026alpha;\u0026sigma;\u0026eta; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026omicron;\u0026iota; \u0026pi;\u0026rho;\u0026omega;\u0026tau;\u0026alpha;\u0026gamma;\u0026omega;\u0026nu;\u0026iota;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;έ\u0026sigmaf; έ\u0026nu;\u0026nu;\u0026omicron;\u0026iota;\u0026epsilon;\u0026sigmaf;.\u003c/p\u003e\r\n","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/987/medium_500/Fabre,%20Jan,%20Mur%20de%20la%20Mont%C3%A9e%20des%20Anges,%201993%20photo%20Attilio%20Maranzano.jpg?1304062671","cached_actor_names":"Jan Fabre","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/987/large/Fabre,%20Jan,%20Mur%20de%20la%20Mont%C3%A9e%20des%20Anges,%201993%20photo%20Attilio%20Maranzano.jpg?1304062671","poster_credits":"©image: Attilio Maranzano, © SABAM Belgium 2018","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe Antwerp visual artist and theatre maker Jan Fabre (b. 1958) is a multidisciplinary artistic phenomenon. He is an energetic performer who explores the limits of theatrical admissibility, and he is a dedicated visual artist who creates a universe with insects, scarabs and bic-drawings that abounds with mystical references, metamorphoses and personifications. He is included in \u003cem\u003eSanguine/Bloedrood\u003c/em\u003e with two blood drawings that refer directly to his challenging performances from the early eighties in which he uses his own body as an experimental laboratory to express the potent vitality of existence. Urges, desires, beauty and mortality are recurring themes, both on stage and in his visual work. The extent to which two blend together is already apparent in the 1978 performance \u0026quot;\u003cem\u003eMy body, my blood, my landscape\u003c/em\u003e\u0026quot;: on stage, the artist carves into his own body and makes his first blood drawings on the spot. In the following years, he creates wedding dresses with green-blue beetles, inks night blue bic-drawings and makes gilded sculptures of animals and skulls. Fabre fantasises, glorifies and brandishes, yet hidden behind the dazzling beauty displayed, there is always a different world, a bloody and animalesque underworld. The figures that appear in his work are often angels, warriors, skeletons and animals. They are disguised messengers who emerge from the past to remind us of decay and destruction, of blood and suffering, of the animal in man and the human in the animal. His keen interest in insects is already evident from several collages and drawings of beetles and spiders from the later 70s, but only manifests itself in the 90s when he creates his enchanting\u0026nbsp;\u003cem data-mce-style=\"mso-bidi-font-style: normal;\"\u003eMur de la mont\u0026eacute;e des anges\u003c/em\u003e, an elegant wedding dress made of green-blue jewel beetles. It shows the romantic beauty of a woman\u0026#39;s silhouette, but its feather-light shape is only retained by a penetrating sense of transience. In the smallness of the early blood drawings, Luc Tuymans sees both a humble and a grand gesture: a trace of blood as a remnant of Jan Fabre\u0026#39;s personal writing.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe Antwerpse beeldend kunstenaar en theatermaker Jan Fabre (\u0026deg;1958) is een artistiek fenomeen met vele gezichten. Hij is een energiek performer die de grenzen van de theatrale toelaatbaarheid opzoekt, en hij is een toegewijd grafisch kunstenaar die met scarabee\u0026euml;n en bic-tekeningen een universum cre\u0026euml;ert dat wemelt van de mystieke referenties, metamorfoses en personificaties. Tijdens uitdagende performances gebruikt hij vanaf de jaren tachtig zijn eigen lichaam als experimenteel laboratorium om de bulkende vitaliteit van het bestaan uit te drukken. Driften, verlangens, schoonheid en sterfelijkheid zijn weerkerende thema\u0026rsquo;s, zowel op het podium als in zijn beeldend werk. In de jaren die volgen krast hij nachtblauwe bic-tekeningen en maakt hij vergulde sculpturen van dieren en schedels. Fabre fantaseert, verheerlijkt en etaleert, maar achter de oogverblindende schoonheid schuilt steeds een andere wereld, een dierlijke onderwereld. Zijn intense belangstelling voor insecten blijkt al uit enkele collages en tekeningen van kevers en spinnen uit de latere jaren zeventig, maar komt pas tijdens de jaren negentig tot uiting wanneer hij zijn fee\u0026euml;rieke \u003cem\u003eMur de la mont\u0026eacute;e des anges\u003c/em\u003e modelleert, een sierlijke bruidsjurk van groenblauwe juweelkevers. Het toont de romantische schoonheid van een vrouwensilhouet, maar de vederlichte vorm wordt slechts vastgehouden door een indringend besef van vergankelijkheid. Hoewel we van dichtbij geconfronteerd worden met een dreigende chaos van verstrengelde dierenlichamen, is het van op afstand de kleur en vooral de schittering van de ontelbare dekschilden die de aandacht trekt. Jan Fabre noemt de kever \u0026ldquo;het geheugen van de natuur\u0026rdquo; en \u0026ldquo;radar van het menselijk bestaan\u0026rdquo;, refererend aan de geharnaste buitenkant die dient als schild voor het kwetsbare innerlijk.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eL\u0026rsquo;Anversois Jan Fabre (\u0026deg;1958), artiste plasticien, chor\u0026eacute;graphe et metteur en sc\u0026egrave;ne de th\u0026eacute;\u0026acirc;tre est un ph\u0026eacute;nom\u0026egrave;ne artistique aux multiples visages. Performeur \u0026eacute;nergique, il explore et repousse les fronti\u0026egrave;res de ce que permet le th\u0026eacute;\u0026acirc;tre. Plasticien assidu, il cr\u0026eacute;e, \u0026agrave; la faveur d\u0026rsquo;insectes, de scarab\u0026eacute;es, de dessins au stylo \u0026agrave; bille, etc., des univers qui fourmillent de r\u0026eacute;f\u0026eacute;rences mystiques, de m\u0026eacute;tamorphoses et de personnifications. Dans l\u0026rsquo;exposition \u003cem\u003eSanguine/Bloedrood\u003c/em\u003e, ses deux dessins de sang renvoient directement \u0026agrave; ses performances provocatrices du d\u0026eacute;but des ann\u0026eacute;es\u0026nbsp;80, lorsque son corps faisait office de laboratoire exp\u0026eacute;rimental pour exprimer la vitalit\u0026eacute; criante de l\u0026rsquo;existence. Pulsions, d\u0026eacute;sirs, beaut\u0026eacute; et mortalit\u0026eacute; sont ses th\u0026egrave;mes r\u0026eacute;currents, aussi bien dans ses productions sc\u0026eacute;niques que ses \u0026oelig;uvres plastiques. L\u0026rsquo;imbrication des deux se r\u0026eacute;v\u0026egrave;le d\u0026eacute;j\u0026agrave; en 1978 dans la performance \u003cem\u003eMy body, my blood, my landscape\u0026nbsp;\u003c/em\u003e: sur sc\u0026egrave;ne, l\u0026rsquo;artiste taillade son propre corps et avec le sang qu\u0026rsquo;il recueille, il cr\u0026eacute;e ses premiers dessins de sang. Dans les ann\u0026eacute;es qui suivent, il fa\u0026ccedil;onne des robes de mari\u0026eacute;e en \u0026eacute;lytres de scarab\u0026eacute;es bleu vert, griffonne des dessins au stylo \u0026agrave; bille \u0026agrave; l\u0026rsquo;encre bleu nuit et r\u0026eacute;alise des sculptures dor\u0026eacute;es d\u0026rsquo;animaux et de cr\u0026acirc;nes. Fabre fantasme, sublime et \u0026eacute;tale, mais la beaut\u0026eacute; aveuglante de ses cr\u0026eacute;ations dissimule toujours un autre monde, un au-del\u0026agrave; animal et sanglant. Dans ses \u0026oelig;uvres apparaissent souvent des anges, des guerriers, des squelettes et des animaux\u0026nbsp;; des messagers d\u0026eacute;guis\u0026eacute;s qui surgissent du pass\u0026eacute; pour nous rappeler la d\u0026eacute;cr\u0026eacute;pitude et la perte, le sang et la souffrance, la part d\u0026rsquo;animalit\u0026eacute; en l\u0026rsquo;homme et la part d\u0026rsquo;humanit\u0026eacute; dans l\u0026rsquo;animal. Son int\u0026eacute;r\u0026ecirc;t intense pour les insectes appara\u0026icirc;t d\u0026eacute;j\u0026agrave; dans quelques collages et dessins de scarab\u0026eacute;es et araign\u0026eacute;es de la fin des ann\u0026eacute;es soixante-dix, mais ne s\u0026rsquo;exprime que durant les ann\u0026eacute;es quatre-vingt-dix quand il mod\u0026egrave;le son \u003cem\u003eMur f\u0026eacute;\u0026eacute;rique de la mont\u0026eacute;e des anges\u003c/em\u003e, une robe de mari\u0026eacute;e \u0026eacute;l\u0026eacute;gante de scarab\u0026eacute;es m\u0026eacute;talliques de bois de Tha\u0026iuml;lande verts-bleus. Elle montre la beaut\u0026eacute; romantique d\u0026rsquo;une silhouette f\u0026eacute;minine mais la forme ultral\u0026eacute;g\u0026egrave;re n\u0026rsquo;est retenue que par la conscience envahissante d\u0026rsquo;un caract\u0026egrave;re \u0026eacute;ph\u0026eacute;m\u0026egrave;re. Luc Tuymans voit dans le petit format des dessins de sang un geste \u0026agrave; la fois humble et grandiose\u0026nbsp;: une trace de sang comme r\u0026eacute;sidu des \u0026eacute;crits personnels de Jan Fabre.\u003c/p\u003e\r\n"}]},{"id":3850,"title":"Project voor Nachtelijk Grondgebied","dimensions":"14 x (38.3 x 30.7 cm)","date_begin":"1979-01-01","material":"pencil, paper","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":20,"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":"BK6948_M173B","stream_count_app":19,"permalink":"project-voor-nachtelijk-grondgebied","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/000/007/758/large/Fabre__Jan__Project_voor_nachtelijk_grondgebied__1979_foto_Syb'l._S._-_Pictures.jpg?1381409105","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":7078,"title":"Jan Fabre - Homo Fabere","dimensions":"29.7 x 20.8 cm, 57p, language : Dutch, English, authors : Katrien De Meurichy, Georges Goffin, Chris Dercon \u0026 Jan Fabre, publisher : Cultureel Centrum 'Ter Dilft', Bornem","date_begin":"1981-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Artist publication ; Artist catalogue ; Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1998/903","stream_count_app":13,"permalink":"jan-fabre-homo-fabere","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/217/large/DSC_5103.jpg?1366030096","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":7862,"title":"De zak, aka Struisvogel met sarmazak [The bag, aka Ostrich with sarma bag]","dimensions":"","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1982-01-01","reference":"","stream_count_app":7,"permalink":"de-zak-aka-struisvogel-met-sarmazak-the-bag-aka-ostrich-with-sarma-bag","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/000/017/747/large/Fabre__jan__sarmazak__1980-82_still1.jpg?1370524975","poster_credits":"(c)Jan Fabre","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":7863,"title":"Zelfwurging [Self-strangulation]","dimensions":"","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1982-01-01","reference":"","stream_count_app":9,"permalink":"zelfwurging-self-strangulation","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/017/746/large/Fabre__Jan__Zelfwurging__1980-82_still1.jpg?1370524887","poster_credits":"(c)Jan Fabre","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12399,"title":"Fonteintje [Fountain]","dimensions":"00:05:00","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"silent B/W video","publishing_process_id":1,"annotation":"\u003cp\u003evideo zonder geluid, 3:4\u0026nbsp; op klein dvd scherm\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"","stream_count_app":16,"permalink":"fonteintje-fountain","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/000/026/787/large/Fabre__Jan__Fonteintje__1980-82_still2.jpg?1422900194","poster_credits":"(c)photo: M HKA, videostill","translations":[{"locale":"en","description":"\u003cp\u003e\u003cspan style=\"line-height:1.6\"\u003eAlthough most people are acquainted with the drawings, sculptures, performances and plays of Jan Fabre, his films are lesser known to the general public. Yet they reveal Fabre\u0026rsquo;s strange world of impulsiveness, parody and ritualization. Between 1980 and 1982 he produced a series of 16 short 8mm films. These works are characterized by an obsession with the cyclical form and repetition. \u0026quot;\u003cem\u003eRepetition is time made tangible, visually structured\u003c/em\u003e,\u0026quot; the artist says.\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eThe repetitiveness and absurdity of the actions is proof of the influence of Luis Bu\u0026ntilde;uel. The meticulous lighting and editing techniques make these video artworks into a unique genre. When Fabre chooses the medium of film he does not do this simply to record a performance, he chooses it for its specific visual language and to highlight the features of the camera. In \u003cem\u003eFonteintje\u003c/em\u003e we see the artist taken on the role of a fountain. \u003cem\u003e\u0026ldquo;I\u0026rsquo;m fond of undertaking actions in front of the camera \u0026lsquo;in private\u0026rsquo;. I take pleasure in doing the most idiotic and extreme things with my body. (Am I a voyeur of myself?).\u003c/em\u003e\u0026rdquo;\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHoewel de tekeningen, sculpturen, performances en toneelstukken van Jan Fabre algemeen gekend zijn, genieten zijn films minder bekendheid bij het grote publiek. Toch verhelderen ze de vreemde wereld van impulsiviteit, parodie en ritualisering die Fabre oproept. Tussen 1980 en 1982 produceert hij een reeks van 16 korte 8mm films. Al deze werken worden gekenmerkt door een obsessie voor de cyclische vorm en voor herhaling. \u003cem\u003e\u0026ldquo;Herhaling is tastbaar gemaakte tijd, visueel gestructureerd,\u0026rdquo;\u003c/em\u003e zegt de kunstenaar hierover zelf.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet repetitieve en absurde van de handelingen verraadt de invloed van Luis Bu\u0026ntilde;uel. De uiterst precieze belichting en montagetechnieken maken van deze videokunstwerken een uniek genre. Als Fabre voor het medium film kiest, doet hij dat dan ook niet om een performance op te nemen, maar om de specifieke taal en eigenschappen van de camera uit te spelen. In \u003cem\u003eFonteintje \u003c/em\u003ezien we de kunstenaar zelf de rol van fontein op zich nemen. \u003cem\u003e\u0026ldquo;Ik hou ervan om \u0026lsquo;privé\u0026rsquo; voor de camera acties te ondernemen. Ik heb genot en plezier om de meest idiote en extreme dingen te doen met mijn lichaam. (Ben ik een voyeur van mezelf?)\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":12471,"title":"Zeno X (performance with my turtoises Janneke \u0026 Mieke)","dimensions":"32 x 22.5 cm","date_begin":"1978-01-01","material":"Indian ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Collection Angelos bvba","cached_tag_list":"notebook","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":25,"permalink":"zeno-x-performance-with-my-turtoises-janneke-mieke--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/302/large/1978%EF%80%A21981_ZENO_X_LH_003.jpg?1426064284","poster_credits":"(c)Angelos bvba, photo: Lieven Herreman","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12529,"title":"Action: Bic Art Prints","dimensions":"02:00:00","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":21,"permalink":"action-bic-art-prints","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/000/027/453/large/1980_BIC_ART_PRINTS_LH_003.jpg?1426165398","poster_credits":"(c)Angelos bvba, photo: Lieven Herreman","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e31.5.1980\u003cbr /\u003e​Amsterdam, De Stempelplaats\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eInfluenced by Yves Klein the artist investigates prints of his own body. Appropriately enough these performances take place at the Stempelplaats (\u003cem\u003eStamp\u003c/em\u003eplace) in Amsterdam.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e31.5.1980\u003cbr /\u003e​Amsterdam, De Stempelplaats\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eBe\u0026iuml;nvloed door Yves Klein onderzoekt de kunstenaar de afdrukken van zijn eigen lichaam. Toepasselijk werden deze acties ondernomen op de Stempelplaats in Amsterdam.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12425,"title":"Homage to Bas Jan Ader","dimensions":"46:00:00","date_begin":"1976-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"","cached_tag_list":"Jan Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":21,"permalink":"homage-to-bas-jan-ader","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/000/026/983/large/1976_HOMAGE_TO_BAS_JAN_ADER_004.jpg?1424360346","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e3.7 - 5.7.1976\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eThe Netherlands, Zirkzee\u003c/strong\u003e\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e3.7 - 5.7.1976\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNederland, Zirkzee\u003c/strong\u003e\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12490,"title":"Money Performance","dimensions":"00:50:00","date_begin":"1979-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"","cached_tag_list":"Jan Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":46,"permalink":"money-performance--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/360/large/still_video.jpg?1426071554","poster_credits":"(c)Angelos bvba, Collection M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e12.9.1979\u003cbr /\u003eAntwerp, Ankerrui Theatre\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eTo address the ambiguous position of money in our society Jan Fabre plays with his audience\u0026rsquo;s money. After a number of symbolic actions with the admission fees he burns their money, upon which the enraged audience invades the stage.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;MY BODY IS A BATTLEFIELD.\u003cbr /\u003eMy ribs hurt\u003cbr /\u003eand I\u0026#39;m covered in bruises.\u003cbr /\u003eI wear with pride\u003cbr /\u003ethe blue medals I received\u003cbr /\u003efor my Money Performance.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 13 September 1979)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;It\u0026#39;s 4:30 in the morning now.\u003cbr /\u003eIt was intense.\u003cbr /\u003eIt was an experience, my Money Performance.\u003cbr /\u003eI can\u0026#39;t sleep from excitement.\u003cbr /\u003eBecause I have the feeling my emotions\u003cbr /\u003eare in a mixer.\u003cbr /\u003eI\u0026#39;m still quivering inside.\u003cbr /\u003eFrom what?\u0026nbsp;\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eFrom pain, because the audience\u003cbr /\u003ekicked and hit me?\u003cbr /\u003eFrom fear and a sense of cowardliness\u003cbr /\u003ebecause I was scared?\u003cbr /\u003eBut the most important is\u003cbr /\u003ethe feeling of happiness and triumph.\u003cbr /\u003eSIMPLY BY THE FACT OF DOING IT!\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 12 September 1979)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e12.9.1979\u003cbr /\u003eAntwerpen, Ankerrui Theatre\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eOm de ambigue positie dat geld inneemt in deze samenleving aan te kaarten speelt Jan Fabre met het geld van zijn publiek in deze performance. Na enkele symbolische acties\u0026nbsp; met het entreegeld verbrandt hij het geld waarop het publiek furieus het podium bestormt.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;MY BODY IS A BATTLEFIELD.\u003cbr /\u003eMy ribs hurt\u003cbr /\u003eand I\u0026#39;m covered in bruises.\u003cbr /\u003eI wear with pride\u003cbr /\u003ethe blue medals I received\u003cbr /\u003efor my Money Performance.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 13 September 1979)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;It\u0026#39;s 4:30 in the morning now.\u003cbr /\u003eIt was intense.\u003cbr /\u003eIt was an experience, my Money Performance.\u003cbr /\u003eI can\u0026#39;t sleep from excitement.\u003cbr /\u003eBecause I have the feeling my emotions\u003cbr /\u003eare in a mixer.\u003cbr /\u003eI\u0026#39;m still quivering inside.\u003cbr /\u003eFrom what?\u0026nbsp;\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eFrom pain, because the audience\u003cbr /\u003ekicked and hit me?\u003cbr /\u003eFrom fear and a sense of cowardliness\u003cbr /\u003ebecause I was scared?\u003cbr /\u003eBut the most important is\u003cbr /\u003ethe feeling of happiness and triumph.\u003cbr /\u003eSIMPLY BY THE FACT OF DOING IT!\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 12 September 1979)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003e12.9.1979\u003cbr /\u003eAntwerpen, Ankerrui Theatre\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;MY BODY IS A BATTLEFIELD.\u003cbr /\u003eMy ribs hurt\u003cbr /\u003eand I\u0026#39;m covered in bruises.\u003cbr /\u003eI wear with pride\u003cbr /\u003ethe blue medals I received\u003cbr /\u003efor my Money Performance.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 13 September 1979)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;It\u0026#39;s 4:30 in the morning now.\u003cbr /\u003eIt was intense.\u003cbr /\u003eIt was an experience, my Money Performance.\u003cbr /\u003eI can\u0026#39;t sleep from excitement.\u003cbr /\u003eBecause I have the feeling my emotions\u003cbr /\u003eare in a mixer.\u003cbr /\u003eI\u0026#39;m still quivering inside.\u003cbr /\u003eFrom what?\u0026nbsp;\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eFrom pain, because the audience\u003cbr /\u003ekicked and hit me?\u003cbr /\u003eFrom fear and a sense of cowardliness\u003cbr /\u003ebecause I was scared?\u003cbr /\u003eBut the most important is\u003cbr /\u003ethe feeling of happiness and triumph.\u003cbr /\u003eSIMPLY BY THE FACT OF DOING IT!\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 12 September 1979)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":12422,"title":"You have to take everything seriously but not tragically","dimensions":"00:10:00","date_begin":"1976-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":27,"permalink":"you-have-to-take-everything-seriously-but-not-tragically","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/000/026/952/large/1976_SERIEUS_TRAGISCH_001.jpg?1423845092","poster_credits":"(c)photo: Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e1976\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAntwerp, Cultural Centre\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn reaction to the Antwerp Academy of Fine Arts the eighteen-year-old student Jan Fabre curates an exhibition of his own. At the opening he targets classic paintings, done by himself, as a poetic action against the academicism.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e1976\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eAntwerpen, Cultureel Centrum\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAls reactie op de Academie voor Schone Kunsten in Antwerpen cureert Jan Fabre een eigen tentoonstelling. Tijdens de opening neemt hij de, zelfgeschilderde, klassieke schilderijen onder handen als po\u0026euml;tische actie tegen de academie.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12488,"title":"Action: Cleaning the Museum","dimensions":"00:40:00","date_begin":"1979-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Jan Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":21,"permalink":"action-cleaning-the-museum","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/000/027/338/large/Fabre__Jan__Bic_dweilen__deatail_6__1979_photo_M_HKA_clinckx.jpg?1426069699","poster_credits":"(c)Angelos bvba, Collection M HKA, photo: Christine Clinckx","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e7.4 - 24.4.1979\u003cbr /\u003e​Antwerp, Jordaenshuis\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eBelgium is the only country where floor cloths bear the colours of the national flag. With these cloths the artist cleans the Jordaenshuis in Antwerp. On these rags Jan Fabre writes poetical texts with Bic, for example: \u003cem\u003e\u0026lsquo;Only acts of poetical terrorism\u0026rsquo;\u003c/em\u003e.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e7.4 - 24.4.1979\u003cbr /\u003e​Antwerp, Jordaenshuis\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eBelgi\u0026euml; is het enige land waar de nationale driekleur op de dweilen getekend is. Met een van deze dweilen heeft de kunstenaar het Jordaenshuis in Antwerpen gekuist. Op deze dweilen stond onder meer\u0026nbsp;\u003cem\u003e\u0026ldquo;Only acts of poetical terrorism\u0026rdquo;\u003c/em\u003e.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12447,"title":"Vincent van Gogh - Jan Fabre house","dimensions":"00:50:00","date_begin":"1978-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"Jan Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":23,"permalink":"vincent-van-gogh-jan-fabre-house","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/000/027/018/large/JF_VGOGH_3.jpg?1424364827","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eAntwerp, Lange Beeldekensstraat 224\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAs a young kid Jan Fabre lives within a stone\u0026rsquo;s throw of the house in Antwerp where Vincent Van Gogh used to live and work for a while. To create a place for himself in the art history the artist placed his own version over the commemorative plaque.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eAntwerpen, Lange Beeldekensstraat 224\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAls jonge knaap woonde Jan Fabre op een boogscheut van het huis waar Vincent Van Gogh in Antwerpen leefde en werkte. Om zichzelf in de kunstgeschiedenis in te schrijven heeft de kunstenaar een eigen versie over de plakkaat gehangen.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12423,"title":"You have to take everything seriously but not tragically","dimensions":"52.3 x 73 cm","date_begin":"1976-01-01","material":"oil on panel","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 Angelos bvba","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"you-have-to-take-everything-seriously-but-not-tragically--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/026/955/large/1976_SERIEUS_TRAGISCH_PAINTING_LH.jpg?1423845676","poster_credits":"(c)photo: Lieven Herreman, Courtesy of Angelos bvba","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12443,"title":"My body, my blood, my landscape (Series)","dimensions":"21 x 29.7 cm","date_begin":"1978-01-01","material":"blood on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Collection Angelos bvba","cached_tag_list":"bloedtekeningen, Jan Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":23,"permalink":"my-body-my-blood-my-landscape-series","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/000/027/011/large/78MYBODY__0002.jpg?1424363879","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12433,"title":"Window Performance","dimensions":"07:00:00","date_begin":"1977-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collectie M HKA, Antwerp","cached_tag_list":"Jan Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"window-performance--2","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/026/994/large/fabre_au000002.jpg?1424361470","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003eAntwerp, Offerandestraat\u003c/p\u003e\r\n\r\n\u003cp\u003eAlready during his training as window dresser at the City School of Arts and Crafts the young Jan Fabre is searching for the limits of the shopwindow. Here the artist himself takes the place of the mannequin. The snails, painted with the Belgian tricolour, are both tribute to and critique of the slow but united Belgium.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026quot;\u003cstrong\u003eGC\u003c/strong\u003e In 1977 you created a work called \u003cem\u003eWindow Performance\u003c/em\u003e (No. 6), which lasted seven\u0026nbsp;hours and was set in a shop window. What actions did you perform in this greatly reduced\u0026nbsp;space?\u003cbr /\u003e\r\n\u003cstrong\u003eJF\u003c/strong\u003e Well, just lying naked with the snails crawling over my body. And the snails were in\u0026nbsp;the colours of the Belgian flag with the golden crowns on top. In these years I had the\u0026nbsp;feeling I was living in a slow country where in my eyes little was happening and time was crawling like a snail. And of course the performance was also about the different\u0026nbsp;perception and experience of time. The seven hours represented the cycle of repetition\u0026nbsp;and through repetition purification.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003e(Celant, G.\u0026nbsp;\u003cem\u003eJan Fabre. Stigmata. Action \u0026amp; Performances 1976-2013\u003c/em\u003e. Skira, 2014, p.173)\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eAntwerpen, Offerandestraat\u003c/p\u003e\r\n\r\n\u003cp\u003eTijdens zijn opleiding voor etalagist aan het Stedelijk Insitituut voor Sierkunsten en Ambachten onderzocht de jonge Jan Fabre de grenzen van de vitrine op. Hier neemt hij zelf de plaats van mannequinpop in. De geschilderde slakjes zijn zowel een hommage als een kritiek op het trage, maar eengemaakte, Belgi\u0026euml;.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026quot;\u003cstrong\u003eGC\u003c/strong\u003e In 1977 maakte je een zeven uur durend werk genaamd Window Performance (Nr. 6) dat zich afspeelde in een winkelraam. Wat voor acties voerde je uit in die heel kleine ruimte?\u003cbr /\u003e\r\n\u003cstrong\u003eJF\u003c/strong\u003e Wel, ik lag gewoon naakt op de grond en slakken, in de kleuren van de Belgische vlag met gouden kronen bovenop, kropen over mijn lichaam. In die jaren had ik het gevoel dat ik in een traag land leefde waar, in mijn ogen, heel weinig gebeurde en de tijd voorbij kroop als een slak. Natuurlijk ging de performance ook over de perceptie en ervaring van tijd. De zeven uren representeerden de cyclus van herhaling en zuivering door herhaling.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003e(Celant, G.\u0026nbsp;\u003cem\u003eJan Fabre. Stigmata. Acties \u0026amp; Performances 1976-2013\u003c/em\u003e. Skira, 2014, p.17)\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":12428,"title":"Long Street of Images - Jan Fabre Street","dimensions":"00:50:00","date_begin":"1977-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Jan Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"long-street-of-images-jan-fabre-street","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/000/026/989/large/1977_JANFABRESTRAAT_SIGN_LH_001.jpg?1424360992","poster_credits":"(c)photo: Lieven Herreman, Courtesy of Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eAntwerp, Lange Beeldekensstraat\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eWhen he is nineteen years old Jan Fabre removes a street sign from the street where he grew up. He puts up a new sign, \u0026lsquo;Jan Fabrestraat\u0026rsquo; (Jan Fabrestreet), making a name for himself in the history of the neighbourhood that means so much to him as a young man.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u0026#39;Looking back on what I was doing as a young artist, I feel I was trying to engrave myself\u0026nbsp;in the tradition, wanting to be part of history and maybe trying to get myself famous.\u0026nbsp;(Chuckles.) I for example changed the street name of the street where I was living.\u0026nbsp;The \u0026lsquo;Lange Beeldekensstraat\u0026rsquo; was an old Flemish word for \u0026lsquo;Long Street of Images\u0026rsquo;\u0026nbsp;I took the street sign away and I made it Jan Fabrestraat (1977, No. 4). For example\u0026nbsp;another action that I did in the same street was hanging over the sign of the Van\u0026nbsp;Gogh house my own copper sign with the text \u0026lsquo;Here lives and works Jan Fabre\u0026rsquo;. Van\u0026nbsp;Gogh had lived in Antwerp and was a student at the Royal Academy.\u0026#39;\u0026nbsp;\u003c/strong\u003e\u003cspan style=\"line-height:1.6\"\u003e(source: Celant, G. \u003c/span\u003e\u003cem style=\"line-height:1.6\"\u003eJan Fabre. Stigmata. Action \u0026amp; Performances 1976-2013\u003c/em\u003e\u003cspan style=\"line-height:1.6\"\u003e. Skira, 2014, p.166)\u003c/span\u003e\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eAntwerpen, Lange Beeldekensstraat\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eOp 19 jarige leeftijd haalt Jan Fabre de straatnaam van de muur in de straat waar hij is opgegroeid. Hij hangt een nieuw bord, \u0026ldquo;Jan Fabrestreet\u0026rdquo; zo vestigt hij zijn naam in de geschiedenis van de wijk die zo veel voor hem betekent als jonge man.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Als ik terugkijk op wat ik aan het doen was als jonge kunstenaar, heb ik het gevoel dat ik probeerde om mezelf in te schrijven in de traditie, ik wilde deel uitmaken van de geschiedenis en misschien wilde ik zelfs beroemd worden (Grinnikt.) Ik veranderde bijvoorbeeld de naam van de straat waarin ik woonde van Lange Beeldekensstraat naar Jan Fabrestraat (1977, nr. 4). Tijdens een andere actie verving ik in dezelfde straat het bord van het van Gogh Huis door mijn eigen koperen bord waarop stond: \u0026ldquo;Hier leeft en werkt Jan Fabre.\u0026rdquo; van Gogh woonde ooit in Antwerpen en was student aan de Koninklijke Academie.\u0026#39; \u0026nbsp;\u003c/em\u003e\u003c/strong\u003e(bron:\u0026nbsp;\u003cspan style=\"line-height:1.6\"\u003eCelant, G.\u0026nbsp;\u003c/span\u003e\u003cem style=\"line-height:1.6\"\u003eJan Fabre. Stigmata. Acties \u0026amp; Performances 1976-2013\u003c/em\u003e\u003cspan style=\"line-height:1.6\"\u003e. Skira, 2014, p.10)\u003c/span\u003e\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12470,"title":"Zeno X (performance with my tortoises Janneke \u0026 Mieke)","dimensions":"04:00:00","date_begin":"1978-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Jan Fabre","publishing_process_id":1,"annotation":"","date_end":"1981-01-01","reference":"","stream_count_app":15,"permalink":"zeno-x-performance-with-my-tortoises-janneke-mieke","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/000/027/299/large/1978%EF%80%A21981_ZENO_X_LH_002.jpg?1426064172","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eAntwerp, Volksstraat\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAt the inauguration of a new art gallery Jan Fabre places candles on the backs of his tortoises. They go like this from the old gallery to the new one. This new gallery, still well-known today, is given the name of the performance: \u003cem\u003eZeno X\u003c/em\u003e.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026quot;I\u0026#39;m really glad.\u003cbr /\u003eAfter hours of talking, I\u0026#39;ve persuaded Hedwig\u003cbr /\u003eVan Laer and his assistant Frank to change the\u003cbr /\u003ename of the gallery The Printshop.\u003cbr /\u003eHe has opted for the name Avant Grade Gallery\u003cbr /\u003e(like the title of one of my small objects, the\u003cbr /\u003ecardboard shirt collar).\u003cbr /\u003eAnd for his new, second place in the same\u003cbr /\u003eVolksstraat, he has chosen the name Zeno X Gallery\u003cbr /\u003e(the title of my tortoise performance).\u0026quot; \u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 3 June 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eAntwerpen, Volksstraat\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eBij de opening van een nieuwe galerie zette Jan Fabre\u0026nbsp; kaarsen op zijn schildpadden hun rug. Zo legden ze de weg af tussen de oude en nieuwe galerie. Later kreeg deze, nu nog bekende, galerie de naam van de performance: \u003cem\u003eZeno X.\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026quot;I\u0026#39;m really glad.\u003cbr /\u003eAfter hours of talking, I\u0026#39;ve persuaded Hedwig\u003cbr /\u003eVan Laer and his assistant Frank to change the\u003cbr /\u003ename of the gallery The Printshop.\u003cbr /\u003eHe has opted for the name Avant Grade Gallery\u003cbr /\u003e(like the title of one of my small objects, the\u003cbr /\u003ecardboard shirt collar).\u003cbr /\u003eAnd for his new, second place in the same\u003cbr /\u003eVolksstraat, he has chosen the name Zeno X Gallery\u003cbr /\u003e(the title of my tortoise performance).\u0026quot;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 3 June 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12472,"title":"Action: The Essential Multiple","dimensions":"during the opening of the exhibition","date_begin":"1978-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Jan Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"action-the-essential-multiple","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/000/027/305/large/1978_ESSENTIAL_MULTIPLE_POSTER_LH_001.jpg?1426064960","poster_credits":"(c)Angelos bvba, Collection M HKA, photo: Lieven Herreman","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e20.12.1978\u003cbr /\u003e​Antwerp, Frits Francken Gallery\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAt the vernissage of their exhibition Jan Fabre and Erik Vermeulen request an admission fee. The receipt of this admission is signed, stapled and returned as a multiple of the artists.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e20.12.1978\u003cbr /\u003e​Antwerpen, Frits Francken Gallery\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eTijdens de vernissage van hun tentoonstelling vroegen Jan Fabre en Erik Vermeulen inkomgeld. Het bonnetje werd ondertekend, vastgeniet en werd teruggeven als multiple van de kunstenaars.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12465,"title":"Nose Laboratory / Project for Nocturnal Territory","dimensions":"several nights","date_begin":"1978-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"","cached_tag_list":"Jan Fabre","publishing_process_id":1,"annotation":"","date_end":"1979-01-01","reference":"","stream_count_app":33,"permalink":"nose-laboratory-project-for-nocturnal-territory","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/000/027/022/large/fabre_au003499.jpg?1424365296","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eAntwerp, Lange Beeldekensstraat 240\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eLike a scientist Fabre explores the nature of his parents\u0026rsquo; garden. Here he erects a nose-shaped tent as a laboratory for his experimentation with insects. Jean-Henri Fabre\u0026rsquo;s writings on entomology will always inspire him.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eAntwerpen, Lange Beeldekensstraat 240\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAls een wetenschapper onderzocht hij de natuur in de tuin van zijn ouders. Hij zette een tent op als laboratorium voor zijn experimenten met insecten. De geschriften van Jean-Henri Fabre zouden hem later verder op weg zetten in de entomologie.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12480,"title":"Action: Bic Art Propaganda","dimensions":"several months","date_begin":"1979-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"action-bic-art-propaganda","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/000/027/320/large/1979_BIC_ART_PROPAGANDA_LH_005.jpg?1426066806","poster_credits":"(c)Angelos bvba, photo: Lieven Herreman","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eAntwerp, Julius de Geyterstraat 205\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eThe Bic Art Propaganda\u003c/em\u003e is mail art avant-la-lettre. The envelopes of these mailed postcards carry a pun on the artist\u0026rsquo;s financial straits. In Belgium one has to collect a stamp every day to receive unemployment benefits.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eAntwerp, Julius de Geyterstraat 205\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eThe Bic Art Propaganda\u003c/em\u003e was Mail art avant la lettre. De enveloppes van deze verstuurde\u0026nbsp; postkaartjes bevatte een woordspeling op de financi\u0026euml;le toestand van de kunstenaar. In Belgi\u0026euml; moest men elke dag een stempel halen voor men zijn uitkering kreeg.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12520,"title":"Money (Art) in Culture","dimensions":"00:40:00","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"Jan Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":26,"permalink":"money-art-in-culture","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/000/027/420/large/Fab_1980_MONEY_%28ART%29_IN_CULTURE_001.jpg?1426149542","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eGhent, Ghent University\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAt a philosophy convention in Ghent Jan Fabre, together with American philosophers, creates collages with (burnt) money. Afterwards these collages are auctioned off to the same philosophers.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eGent, Universiteit Gent\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eOp een Gents filosofisch congres maakte hij samen met Amerikaanse filosofen collages met (verbrand) geld. Deze collages verkocht hij naderhand per opbod aan deze filosofen.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12441,"title":"My body, my blood, my landscape","dimensions":"several days","date_begin":"1978-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":128,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"Jan Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":31,"permalink":"my-body-my-blood-my-landscape","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/000/027/002/large/fabre_au003748.jpg?1424363150","poster_credits":"(c)Angelos bvba, photo: Marc Gubbels","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eAntwerp, Julius De Geyterstraat 205\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAfter attending an exhibition in the Groeninge Museum in Bruges on Stigmata in the work of Flemish masters Jan Fabre becomes greatly attracted to the body as a subject. The physical shock of seeing for example Gerard David\u0026rsquo;s Judgement of Cambyses, urges him to penetrate his own body.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eAntwerpen, Julius De Geyterstraat 205\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eNa het zien van een tentoonstelling over Stigmata bij anonieme Vlaamse meesters wordt Jan Fabre enorm aangetrokken tot het lichaam. De fysieke shock van de schilderkunst zet hem aan om zijn eigen lichaam te penetreren.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12434,"title":"Burglaries \u0026 Street Fights","dimensions":"various duration","date_begin":"1978-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"","cached_tag_list":"Jan Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":39,"permalink":"burglaries-street-fights","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/000/026/997/large/1978_BURGLARIES___STREETFIGHTS_BRASSCHAAT_YVH_002.jpg?1424362812","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eAntwerp, docklands, Brasschaat \u0026amp; Schilde\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eTo collect material the young artist breaks into villas in the richer parts around Antwerp. He and his friends form the gang of Cartouche. The stolen goods are fenced to pay for art supplies or used in installations.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u0026#39;I had to be active in different realities because at home there was no money to support\u0026nbsp;going to the Royal Academy of Fine Arts. So as a young guy I was raised on the\u0026nbsp;street; to survive and to pay for all my materials for the Academy I went to work in\u0026nbsp;the weekends in restaurants and also became a small resourceful gangster\u0026mdash;breaking\u0026nbsp;into villas and taking whatever valuables I could carry.\u0026#39;\u003c/strong\u003e\u003c/em\u003e\u0026nbsp;\u003cspan style=\"line-height:1.6\"\u003e(source: Celant, G. \u003c/span\u003e\u003cem style=\"line-height:1.6\"\u003eJan Fabre. Stigmata. Action \u0026amp; Performances 1976-2013\u003c/em\u003e\u003cspan style=\"line-height:1.6\"\u003e. Skira, 2014, p.160)\u003c/span\u003e\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eAntwerpen, havengebied, Brasschaat en Schilde\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eOm materiaal te vergaren breekt de jonge kunstenaar in in de villa\u0026rsquo;s van de rijkere buurten rond Antwerpen. Hij en zijn vrienden vormden de bende van Cartouche. Wat ze stelen wordt verkocht voor tekenmateriaal of gebruikt in installaties.\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u0026#39;Ik werd gedwongen op verschillende vlakken actief te zijn, want thuis was er geen geld om mijn opleiding aan de Koninklijke Academie voor Schone Kunsten te betalen. Dus kwam ik als jongeman terecht in het straatleven. Om te overleven en om alle materialen te betalen die nodig waren aan de Academie werkte ik tijdens het weekend in restaurants en was ik ook een ondermaatse, kleine, maar vindingrijke gangster. Ik brak in in villa\u0026rsquo;s en stal alles van waarde wat ik maar kon dragen.\u0026#39;\u003c/strong\u003e\u003c/em\u003e\u0026nbsp;\u003cspan style=\"line-height:1.6\"\u003e(bron: Celant, G.\u0026nbsp;\u003c/span\u003e\u003cem style=\"line-height:1.6\"\u003eJan Fabre. Stigmata. Acties \u0026amp; Performances 1976-2013\u003c/em\u003e\u003cspan style=\"line-height:1.6\"\u003e. Skira, 2014, pp. 4-5)\u003c/span\u003e\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12510,"title":"The Rea(dy)-make of the Money Performance","dimensions":"00:50:00","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"","cached_tag_list":"Jan Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":46,"permalink":"the-rea-dy-make-of-the-money-performance","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/000/027/392/large/still_money.jpg?1426088029","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e11.1.1980\u003cbr /\u003e​Antwerp, Ankerrui Theatre\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAfter the infamous \u003cem\u003eMoney Performance\u003c/em\u003e the audience returns. This time the artist creates an exhibition with the collected fees, walks around in a suit made of money and pockets the surplus. The audience does not tolerate this.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;\u003c/em\u003e\u003cem\u003eIt\u0026#39;s night.\u003c/em\u003e\u003cem\u003eIt feels good.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eLast night I did The Rea(dy)-make of the\u003cbr /\u003eMoney Performance.\u003cbr /\u003eI had my nerves under control\u003cbr /\u003eand my energy was focused.\u003cbr /\u003eThe concept was just right.\u003cbr /\u003eThe public didn\u0026#39;t get what it came\u003cbr /\u003efor and what it had read in the papers:\u003cbr /\u003escandal and success.\u003cbr /\u003eI gave them confusion and a new performance.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 11 January 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The press, what an unworldly medium.\u003cbr /\u003eHow odd!\u003cbr /\u003eTwo newspapers wrote exactly the same\u003cbr /\u003eabout my performance:\u003cbr /\u003e\u0026#39;The originality of the ideas remains,\u003cbr /\u003eso we can expect a third Money Performance\u003cbr /\u003efrom Jan Fabre.\u0026#39;\u003cbr /\u003eThe answer to that is simple: FORGET IT!\u003cbr /\u003eWhat do they think, those journalists,\u003cbr /\u003ethat an artist is a DJ (we request, you spin).\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 16 January 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e11.1.1980\u003cbr /\u003e​Antwerpen, Ankerrui Theatre\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eNa de vorige spraakmakende \u003cem\u003eMoney Performance\u003c/em\u003e komt het publiek terug. Deze keer maakt de kunstenaar een tentoonstelling met het ge\u0026iuml;nde geld, loopt hij rond in een pak gemaakt van geld en steekt de overschot op zak, het publiek tolereert dit niet.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;\u003c/em\u003e\u003cem\u003eIt\u0026#39;s night.\u003c/em\u003e\u003cem\u003eIt feels good.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eLast night I did The Rea(dy)-make of the\u003cbr /\u003eMoney Performance.\u003cbr /\u003eI had my nerves under control\u003cbr /\u003eand my energy was focused.\u003cbr /\u003eThe concept was just right.\u003cbr /\u003eThe public didn\u0026#39;t get what it came\u003cbr /\u003efor and what it had read in the papers:\u003cbr /\u003escandal and success.\u003cbr /\u003eI gave them confusion and a new performance.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 11 January 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The press, what an unworldly medium.\u003cbr /\u003eHow odd!\u003cbr /\u003eTwo newspapers wrote exactly the same\u003cbr /\u003eabout my performance:\u003cbr /\u003e\u0026#39;The originality of the ideas remains,\u003cbr /\u003eso we can expect a third Money Performance\u003cbr /\u003efrom Jan Fabre.\u0026#39;\u003cbr /\u003eThe answer to that is simple: FORGET IT!\u003cbr /\u003eWhat do they think, those journalists,\u003cbr /\u003ethat an artist is a DJ (we request, you spin).\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 16 January 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003e11.1.1980\u003cbr /\u003e​Antwerpen, Ankerrui Theatre\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;\u003c/em\u003e\u003cem\u003eIt\u0026#39;s night.\u003c/em\u003e\u003cem\u003eIt feels good.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eLast night I did The Rea(dy)-make of the\u003cbr /\u003eMoney Performance.\u003cbr /\u003eI had my nerves under control\u003cbr /\u003eand my energy was focused.\u003cbr /\u003eThe concept was just right.\u003cbr /\u003eThe public didn\u0026#39;t get what it came\u003cbr /\u003efor and what it had read in the papers:\u003cbr /\u003escandal and success.\u003cbr /\u003eI gave them confusion and a new performance.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 11 January 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The press, what an unworldly medium.\u003cbr /\u003eHow odd!\u003cbr /\u003eTwo newspapers wrote exactly the same\u003cbr /\u003eabout my performance:\u003cbr /\u003e\u0026#39;The originality of the ideas remains,\u003cbr /\u003eso we can expect a third Money Performance\u003cbr /\u003efrom Jan Fabre.\u0026#39;\u003cbr /\u003eThe answer to that is simple: FORGET IT!\u003cbr /\u003eWhat do they think, those journalists,\u003cbr /\u003ethat an artist is a DJ (we request, you spin).\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 16 January 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":12494,"title":"Galerij Workshop/Buried (Homage to Pieter Engels)","dimensions":"48 x 38.5 cm","date_begin":"1979-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA,  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Collection","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12536,"title":"Bic Art Print: Dali - Ilad","dimensions":"23.8 x 18 cm","date_begin":"1980-01-01","material":"Bic ballpoint pen on photograph","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"pen, bic, 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Herreman","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12689,"title":"Sanguis / Mantis","dimensions":"05:00:00","date_begin":"2001-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"","cached_tag_list":"Sanguis/Mantis, Fabre, 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Abeele","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e22.05.2001\u003cbr /\u003eLyon, Les Subsustances\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eFor over five hours Jan Fabre, moving in a heavy armour based on the praying mantis, writes a manifest in his own blood, \u0026lsquo;there\u0026rsquo;s no getting used to art\u0026rsquo;. The performance is divided into different actions in which he makes his blood drawings with various tools.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Tomorrow I want to question myself\u003cbr /\u003eTo the extreme again.\u003cbr /\u003eI shall examine myself with a magnifying glass.\u003cbr /\u003eThe inside and outside of my body.\u003cbr /\u003eAnd give Performance art new meaning\u003cbr /\u003efor myself.\u003cbr /\u003e(So I no longer hear myself telling my actors\u003cbr /\u003eabout the performances I did in \u0026#39;the past\u0026#39;.)\u003cbr /\u003eI\u0026#39;m dead nervous.\u003cbr /\u003eIt\u0026#39;s been a couple of years since I last carried\u003cbr /\u003eout an unannounced apparition of death.\u003cbr /\u003eWill I be able to physically and mentally sustain\u003cbr /\u003ethe twelve stages of my new performance\u003cbr /\u003e\u0026#39;Sanguis / Mantis\u0026#39;?\u003cbr /\u003eWe shall discover tomorrow!\u003cbr /\u003eI, the armoured seer, intend to write a manifesto\u003cbr /\u003ewith my own blood.\u003cbr /\u003eThe title of my performance-manifesto is \u0026#39;There\u0026#39;s no getting used to art\u0026#39;.\u003cbr /\u003eThe rest of the text will flow out of my body\u003cbr /\u003etomorrow (I hope).\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Lyon, 21 May 2001)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Just arrived from Lyon.\u003cbr /\u003eThree o\u0026#39;clock in the night.\u003cbr /\u003eI\u0026#39;m Mediaevally broken.\u003cbr /\u003eThe performance of \u0026#39;Sanguis / Mantis\u0026#39; lasted\u003cbr /\u003emore than five hours.\u003cbr /\u003eDuring the last hour I fell ill.\u003cbr /\u003eSick and constantly feeling like vomiting.\u003cbr /\u003eI had the feeling I was making my own\u003cbr /\u003egravestone right there.\u003cbr /\u003e(Later it turned out that I had been inhaling the rust that\u003cbr /\u003emy breath had formed inside the metal helmet).\u003cbr /\u003eBut right now I am happy that I have done this new\u003cbr /\u003eperformance.\u003cbr /\u003eWhat an indispensable physical sensation for an artist!\u003cbr /\u003eFor me personally it was also a tribute to the French\u003cbr /\u003eperformance artist Orlan.\u003cbr /\u003eAnd a birthday present for the performance festival.\u003cbr /\u003e(Orlan was the first to invite me to put on a performance\u003cbr /\u003ein France, twenty years ago, at this same festival.)\u003cbr /\u003eWhat a pleasant night.\u003cbr /\u003eI have brought a treasure with me from Lyon.\u003cbr /\u003eA series of fantastic blood drawings created during\u003cbr /\u003ethe performance.\u003cbr /\u003eNow I\u0026#39;m going to select the best ones.\u003cbr /\u003eAnd destroy the rest and bury them in my Southern\u003cbr /\u003eFrench dustbin.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Avignon, 22 May 2001)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e22.05.2001\u003cbr /\u003e​Lyon, Les Subsustances\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eVijf uur lang schreef Jan Fabre in Lyon met zijn eigen bloed een manifest, \u0026ldquo;there\u0026rsquo;s no getting used to art\u0026rdquo;. De performance was opgedeeld in verschillende acties waarin hij met behulp van gereedschap zijn bloedtekeningen maakte.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Tomorrow I want to question myself\u003cbr /\u003eTo the extreme again.\u003cbr /\u003eI shall examine myself with a magnifying glass.\u003cbr /\u003eThe inside and outside of my body.\u003cbr /\u003eAnd give Performance art new meaning\u003cbr /\u003efor myself.\u003cbr /\u003e(So I no longer hear myself telling my actors\u003cbr /\u003eabout the performances I did in \u0026#39;the past\u0026#39;.)\u003cbr /\u003eI\u0026#39;m dead nervous.\u003cbr /\u003eIt\u0026#39;s been a couple of years since I last carried\u003cbr /\u003eout an unannounced apparition of death.\u003cbr /\u003eWill I be able to physically and mentally sustain\u003cbr /\u003ethe twelve stages of my new performance\u003cbr /\u003e\u0026#39;Sanguis / Mantis\u0026#39;?\u003cbr /\u003eWe shall discover tomorrow!\u003cbr /\u003eI, the armoured seer, intend to write a manifesto\u003cbr /\u003ewith my own blood.\u003cbr /\u003eThe title of my performance-manifesto is \u0026#39;There\u0026#39;s no getting used to art\u0026#39;.\u003cbr /\u003eThe rest of the text will flow out of my body\u003cbr /\u003etomorrow (I hope).\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Lyon, 21 May 2001)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Just arrived from Lyon.\u003cbr /\u003eThree o\u0026#39;clock in the night.\u003cbr /\u003eI\u0026#39;m Mediaevally broken.\u003cbr /\u003eThe performance of \u0026#39;Sanguis / Mantis\u0026#39; lasted\u003cbr /\u003emore than five hours.\u003cbr /\u003eDuring the last hour I fell ill.\u003cbr /\u003eSick and constantly feeling like vomiting.\u003cbr /\u003eI had the feeling I was making my own\u003cbr /\u003egravestone right there.\u003cbr /\u003e(Later it turned out that I had been inhaling the rust that\u003cbr /\u003emy breath had formed inside the metal helmet).\u003cbr /\u003eBut right now I am happy that I have done this new\u003cbr /\u003eperformance.\u003cbr /\u003eWhat an indispensable physical sensation for an artist!\u003cbr /\u003eFor me personally it was also a tribute to the French\u003cbr /\u003eperformance artist Orlan.\u003cbr /\u003eAnd a birthday present for the performance festival.\u003cbr /\u003e(Orlan was the first to invite me to put on a performance\u003cbr /\u003ein France, twenty years ago, at this same festival.)\u003cbr /\u003eWhat a pleasant night.\u003cbr /\u003eI have brought a treasure with me from Lyon.\u003cbr /\u003eA series of fantastic blood drawings created during\u003cbr /\u003ethe performance.\u003cbr /\u003eNow I\u0026#39;m going to select the best ones.\u003cbr /\u003eAnd destroy the rest and bury them in my Southern\u003cbr /\u003eFrench dustbin.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Avignon, 22 May 2001)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12696,"title":"Lancelot","dimensions":"04:00:00","date_begin":"2004-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"Lancelot, 84, Jan, Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":21,"permalink":"lancelot","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/000/027/195/large/Lancelot.JPG?1425914833","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e28.2.2004\u003cbr /\u003eAntwerp, Troubleyn/Laboratorium\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eLike a knight of despair the artist combats himself. For five long hours Jan Fabre wages battle in a cold dark location in front of the camera. The investigation he does here serves as an example to his dancers and actors, his warriors of beauty.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Just back from my favourite hospital.\u003cbr /\u003eThe Stuivenberg Hospital, where since my youth I have let them patch me up\u003cbr /\u003eand put fresh heart into me (that\u0026#39;s the best medicine for me).\u003cbr /\u003e\u0026#39;No, Mr Fabre, it won\u0026#39;t kill you. It is not life-threatening.\u0026#39;\u003cbr /\u003eAnd there we go, I\u0026#39;m bursting with life again.\u003cbr /\u003eHad X-rays of my ribs and right thigh-bone.\u003cbr /\u003eResult: I have two prizes.\u003cbr /\u003eMy smallest left rib is broken\u003cbr /\u003eand I have a small fracture in the bone just below my right hip.\u003cbr /\u003eIt\u0026#39;s now three hours since I stopped my performance.\u003cbr /\u003eBut I still feel ice cold.\u003cbr /\u003eToday I have fought for four hours\u003cbr /\u003ein armour and with a sword\u003cbr /\u003eagainst an imaginary opponent (or was it against myself?)\u003cbr /\u003ein a room painted entirely black\u003cbr /\u003eat the Troubleyn/Laboratorium.\u003cbr /\u003eBy the end of the performance I could no longer bend my fingers\u003cbr /\u003efrom the cold and could no longer pick up my sword.\u003cbr /\u003eTwo steadycams and one camera on a crane followed\u003cbr /\u003eand filmed me throughout the performance.\u003cbr /\u003eI am more than curious to see the rushes.\u003cbr /\u003eOne thing that will definitely work well on film is my breath.\u003cbr /\u003eMy breath and my cries took material form\u003cbr /\u003ebecause the temperature in the room was like a freezer.\u003cbr /\u003eBut for the next few days Lancelot (the title of the performance)\u003cbr /\u003ewill first lick his wounds and recuperate.\u003cbr /\u003eThe knight of despair has triumphed over himself.\u003cbr /\u003e(As I write this my ego is floating around in the living room.\u003cbr /\u003eI occasionally have to pull my ego back down\u003cbr /\u003elike a balloon and put it back inside me.)\u003cbr /\u003eIt will be a long and fine night.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 28 February 2004)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e28.2.2004\u003cbr /\u003eAntwerp, Troubleyn/Laboratorium\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAls een ridder van wanhoop vecht de kunstenaar hier tegen zichzelf. Vijf uur lang strijdt Jan Fabre in de koude regen voor het oog van de camera. Het onderzoek dat hij hier doet dient als voorbeeld voor zijn dansers en acteurs, zijn krijgers van de schoonheid.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Just back from my favourite hospital.\u003cbr /\u003eThe Stuivenberg Hospital, where since my youth I have let them patch me up\u003cbr /\u003eand put fresh heart into me (that\u0026#39;s the best medicine for me).\u003cbr /\u003e\u0026#39;No, Mr Fabre, it won\u0026#39;t kill you. It is not life-threatening.\u0026#39;\u003cbr /\u003eAnd there we go, I\u0026#39;m bursting with life again.\u003cbr /\u003eHad X-rays of my ribs and right thigh-bone.\u003cbr /\u003eResult: I have two prizes.\u003cbr /\u003eMy smallest left rib is broken\u003cbr /\u003eand I have a small fracture in the bone just below my right hip.\u003cbr /\u003eIt\u0026#39;s now three hours since I stopped my performance.\u003cbr /\u003eBut I still feel ice cold.\u003cbr /\u003eToday I have fought for four hours\u003cbr /\u003ein armour and with a sword\u003cbr /\u003eagainst an imaginary opponent (or was it against myself?)\u003cbr /\u003ein a room painted entirely black\u003cbr /\u003eat the Troubleyn/Laboratorium.\u003cbr /\u003eBy the end of the performance I could no longer bend my fingers\u003cbr /\u003efrom the cold and could no longer pick up my sword.\u003cbr /\u003eTwo steadycams and one camera on a crane followed\u003cbr /\u003eand filmed me throughout the performance.\u003cbr /\u003eI 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cassette","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"homo-fabere-this-ain-t-work-this-is-evolution--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/578/large/1981_HOMO_FABERE_CASETTE_LH_001.jpg?1426249090","poster_credits":"(c)Angelos bvba, photo: Lieven Herreman","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12597,"title":"T.Art","dimensions":"01:00:00","date_begin":"1981-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"","cached_tag_list":"50, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":29,"permalink":"t-art","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/000/027/565/large/fabre_au004512.jpg?1426244806","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e7.5.1981\u003cbr /\u003eSaint Louis, Washington University\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eFabre terrorises the position of the critic/philosopher in the art world. He symbolically tortures the philosopher Lars A. Mogensen with art attributes. The audience is so baffled that they call the police.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Visited the campus at Washington University.\u003cbr /\u003eAnd checked all the technical matters\u003cbr /\u003ein the auditorium for tomorrow.\u003cbr /\u003eKept completely quiet about the content\u003cbr /\u003eand the actions.\u003cbr /\u003eBecause no one knows anything.\u003cbr /\u003eI\u0026#39;m going to terrorise Lars Aagaard-Mogensen\u003cbr /\u003ewith art materials. Until he confesses!\u003cbr /\u003eIt has to be a physical attack on reationary\u003cbr /\u003ethinking about art.\u003cbr /\u003eAn artistic reactionary act to expose the genuinely\u003cbr /\u003ereactionary thinking. You don\u0026#39;t talk to a reactionary,\u003cbr /\u003eyou unmask and chase him away.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, St. Louis, 6 May 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Since humans do not by nature\u003cbr /\u003etend towards modesty,\u003cbr /\u003eand I am a human too,\u003cbr /\u003eor at least display human features,\u003cbr /\u003eI would like to announce to the world that\u003cbr /\u003emy T.Art Performance was a success!\u003cbr /\u003eSuccess in the sense that\u003cbr /\u003ethe intention of the performance was achieved.\u003cbr /\u003eDuring the performance, I suddenly changed\u003cbr /\u003efrom public domain to public danger.\u003cbr /\u003eI was arrested, on stage, by two policemen\u003cbr /\u003ewho put me in handcuffs.\u003cbr /\u003eIt was a real kick.\u003cbr /\u003eI felt like a gangster and I was proud of it.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, St. Louis, 7 May 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e7.5.1981\u003cbr /\u003eSaint Louis, Washington University\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eFabre terroriseert de positie van de criticus/filosoof in de kunstwereld. Hij martelt de filosoof Lars A. Mogensen symbolisch met kunstattributen. Iemand van het publiek was zo verbaasd dat men de politie er bij haalde.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Visited the campus at Washington University.\u003cbr /\u003eAnd checked all the technical matters\u003cbr /\u003ein the auditorium for tomorrow.\u003cbr /\u003eKept completely quiet about the content\u003cbr /\u003eand the actions.\u003cbr /\u003eBecause no one knows anything.\u003cbr /\u003eI\u0026#39;m going to terrorise Lars Aagaard-Mogensen\u003cbr /\u003ewith art materials. Until he confesses!\u003cbr /\u003eIt has to be a physical attack on reationary\u003cbr /\u003ethinking about art.\u003cbr /\u003eAn artistic reactionary act to expose the genuinely\u003cbr /\u003ereactionary thinking. You don\u0026#39;t talk to a reactionary,\u003cbr /\u003eyou unmask and chase him away.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, St. Louis, 6 May 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Since humans do not by nature\u003cbr /\u003etend towards modesty,\u003cbr /\u003eand I am a human too,\u003cbr /\u003eor at least display human features,\u003cbr /\u003eI would like to announce to the world that\u003cbr /\u003emy T.Art Performance was a success!\u003cbr /\u003eSuccess in the sense that\u003cbr /\u003ethe intention of the performance was achieved.\u003cbr /\u003eDuring the performance, I suddenly changed\u003cbr /\u003efrom public domain to public danger.\u003cbr /\u003eI was arrested, on stage, by two policemen\u003cbr /\u003ewho put me in handcuffs.\u003cbr /\u003eIt was a real kick.\u003cbr /\u003eI felt like a gangster and I was proud of it.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, St. Louis, 7 May 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12576,"title":"Action: Thee-kater [Tea-hangover]","dimensions":"00:10:00","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"","cached_tag_list":"45, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":33,"permalink":"action-thee-kater-tea-hangover","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/000/027/100/large/fabre_au004205.jpg?1425504023","poster_credits":"(c)Angelos bvba, photo: Marc Gubbels","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eAntwerp, Julius De Geyterstraat 205\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eDuring his stay in the United States of America Jan Fabre starts experimenting with drugs. The teabags in these pictures contain hallucinogenic herbs. Later he makes a room size installation with these teabags.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eAntwerpen, Julius De Geyterstraat 205\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eTijdens zijn verblijf in de Verenigde Staten van Amerika begint Jan Fabre te experimenteren met drugs. De theezakjes in deze foto\u0026#39;s bevatten hallucinogene kruiden. Later maakt hij een kamer grootte installatie met deze theezakjes.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12551,"title":"Sea-Salt of the Fields","dimensions":"00:34:00","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"39, Jan Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0348","stream_count_app":29,"permalink":"sea-salt-of-the-fields--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/492/large/still.jpg?1426169696","poster_credits":"(c)Angelos bvba, Collection M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eMilwaukee, Marquette University\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eJan Fabre is invited by Curtis Carter to present a performance at the University of Milwaukee. The work he presents revolves around the figure of \u003ca href=\"http://www.understandingduchamp.com/\"\u003eMarcel Duchamp\u003c/a\u003e. The title of the performance is a pun on the name of this French artist.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eMilwaukee, Marquette University\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eJan Fabre wordt door Curtis Carter uitgenodigd om een performance te brengen op de universiteit in Milwaukee. Hij maakt een werk dat draait rond de figuur van\u003ca href=\"http://www.understandingduchamp.com/\"\u003e Marcel Duchamp\u003c/a\u003e. De titel van de performance is een woordspeling op de naam van de Franse kunstenaar.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12694,"title":"Parrots and guinea pigs","dimensions":"00:30:00","date_begin":"2003-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"","cached_tag_list":"82, Jan, Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":31,"permalink":"parrots-and-guinea-pigs","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/000/027/191/large/fabre_au003039.jpg?1425913322","poster_credits":"(c)Angelos bvba, photo: Max Ratjen","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e20.3.2003\u003cbr /\u003eParis, L\u0026#39;Arche \u0026eacute;diteur\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cspan style=\"line-height:1.6\"\u003eOn the twentieth anniversary of the collaboration between Jan Fabre and his French publisher\u0026nbsp; L\u0026rsquo;Arche the artist conceives a performance in the publisher\u0026rsquo;s shopwindow in the Rue Bonaparte. The underlying theme is \u003cem\u003e\u0026lsquo;Everyone is a Belgian guinea pig\u0026rsquo;\u003c/em\u003e.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Performed a poetic action\u003cbr /\u003ein the shopwindow of my Paris publishers:\u003cbr /\u003e\u0026#39;Every Belgian is a guinea pig and a parrot\u0026#39;.\u003cbr /\u003e(The glory of experiment and repetition was in\u003cbr /\u003epower.)\u003cbr /\u003eI found sand in the desert\u003cbr /\u003eand my repetition told a secret\u003cbr /\u003eout of a mirror without an image.\u003cbr /\u003e(For Marcel Broodthaers and Freddy De Vree.)\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Paris, 20 March 2004)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e20.3.2003\u003cbr /\u003eParis, L\u0026#39;Arche \u0026eacute;diteur\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eVoor de twintigjarige verjaardag van de samenwerking tussen Jan Fabre en de uitgeverij L\u0026rsquo;Arche deed de kunstenaar een performance aan het gebouw van de uitgeverij. Het thema voor deze actie was: \u003cem\u003e\u0026ldquo;Elke Belg is een papegaai\u0026rdquo;\u003c/em\u003e.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Performed a poetic action\u003cbr /\u003ein the shopwindow of my Paris publishers:\u003cbr /\u003e\u0026#39;Every Belgian is a guinea pig and a parrot\u0026#39;.\u003cbr /\u003e(The glory of experiment and repetition was in\u003cbr /\u003epower.)\u003cbr /\u003eI found sand in the desert\u003cbr /\u003eand my repetition told a secret\u003cbr /\u003eout of a mirror without an image.\u003cbr /\u003e(For Marcel Broodthaers and Freddy De Vree.)\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Paris, 20 March 2004)\u003c/strong\u003e\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12562,"title":"The Killing of J.F.K.","dimensions":"00:10:00","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"41, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"the-killing-of-j-f-k","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/000/027/502/large/1980_JFK_AM_002.jpg?1426171039","poster_credits":"(c)Angelos bvba, photo: Attilio Maranzano","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e27.10.1980\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNew York, The Village\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn the New York neighbourhood The Village Jan Fabre asks for a gun in one of the local bars. With this gun the artist shoots at a dollar coin with the portrait of JFK. Upon his return to Belgium this coin is hung up in an art gallery.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;During the day, my first action in NYC.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI shoot John Fitzgerald Kennedy through\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003ethe head (a $1 coin).\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eDuring the night the first series of drawings\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem style=\"line-height:1.6\"\u003eI have created on American soil.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eThey are blood drawings\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e(a tribute to the American Indians).\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 27 October 1980) \u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e27.10.1980\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNew York, The Village\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026rsquo;s Nachts in Mott Street vraagt Jan Fabre een geweer in een van de lokale bars. Met het geweer schiet de kunstenaar op een dollarmunt met de beeltenis van JFK. \u0026nbsp;Deze werd later bij zijn terugkomst in Belgi\u0026euml; opgehangen in een galerie.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;During the day, my first action in NYC.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI shoot John Fitzgerald Kennedy through\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003ethe head (a $1 coin).\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eDuring the night the first series of drawings\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI have created on American soil.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eThey are blood drawings\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e(a tribute to the American Indians).\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 27 October 1980) \u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003e27.10.1980\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNew York, The Village\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;During the day, my first action in NYC.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI shoot John Fitzgerald Kennedy through\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003ethe head (a $1 coin).\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eDuring the night the first series of drawings\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI have created on American soil.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eThey are blood drawings\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e(a tribute to the American Indians).\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 27 October 1980) \u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":12624,"title":"Television action: The Emperor's New Clothes","dimensions":"00:10:00","date_begin":"1984-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"","cached_tag_list":"63, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":31,"permalink":"television-action-the-emperor-s-new-clothes","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/000/027/594/large/1984_DE_NIEUWE_KLEREN_VAN_DE_KEIZER_B_W_004.jpg?1426252827","poster_credits":"(c)Angelos bvba, VRT - Archief","translations":[{"locale":"en","description":"\u003cp\u003e(Jan Fabre \u0026amp; Guillaume Bijl, Leo Copers, Jan Vanriet, etc.)\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e8.4.1984\u003cbr /\u003eBrussels, National Broadcast\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eThis piece was presented on national television contemporaneous with the, now historical, theatre production \u0026lsquo;The power of theatrical madness\u0026rsquo;. He asks each of his artist friends to read a passage from the fairytale \u0026lsquo;The Emperor\u0026rsquo;s New Clothes\u0026rsquo;.\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e(Jan Fabre \u0026amp; Guillaume Bijl, Leo Copers, Jan Vanriet, etc.)\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e8.4.1984\u003cbr /\u003e​Brussel, Nationale omroep\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eGelijktijdig met zijn theaterproductie \u0026ldquo;The power of theatrical madness\u0026rdquo; doet hij deze actie voor de nationale televisie. Hij laat bevriende kunstenaar elk een passage voorlezen uit het sprookje \u0026ldquo;De nieuwe kleren van de keizer\u0026rdquo;.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12628,"title":"The Scheldt (Hey, what a pleasant madness!)","dimensions":"00:10:00","date_begin":"1988-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"67, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":23,"permalink":"the-scheldt-hey-what-a-pleasant-madness","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/000/027/606/large/still.jpg?1426256333","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eAntwerp, The Scheldt\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eJan Fabre made this film as a tribute to the river that winds its way through his hometown. The river as the water that allows him to relax his body while bathing and to let the creativity flow freely.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eAntwerpen, de Schelde\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAls hommage aan de rivier die door zijn thuisstad kronkelt maakte Jan Fabre deze film. De rivier als het water dat hem in baden toelaat zijn lichaam te ontspannen en de creativiteit vrij te laten stromen.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12590,"title":"Art as a Gamble, Gamble as an Art","dimensions":"00:50:00","date_begin":"1981-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"48, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":29,"permalink":"art-as-a-gamble-gamble-as-an-art","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/000/027/545/large/fabre_au003514.jpg?1426242303","poster_credits":"(c)Angelos bvba, Collection M HKA, photo: Patrick Sellitto","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e16.3.1981\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e​New York, School of Visual Arts\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eHere Fabre touches upon the subject of the relationship between artist and art critic. He makes a number of critics adhere to the rules of the game and then conducts them while they read their critiques. Then the artist and critics play games of chance.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The practical preparations for my performance\u003cbr /\u003e\u0026#39;Art as a Gamble, Gamble as an Art\u0026#39;, which I\u0026#39;m going\u003cbr /\u003eto do at the School of Visual Arts, are not going\u003cbr /\u003esmoothly, but it is satisfying as an artistic journey.\u003cbr /\u003eI see images, I see actions.\u003cbr /\u003eNow I still want to put it into words.\u003cbr /\u003eWhy do it like this and not otherwise?\u003cbr /\u003eInstinct.\u003cbr /\u003eThe image comes before knowledge.\u003cbr /\u003eAnd language after that?\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 13 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Timothy Binkley gave me a no. 314 to calm\u003cbr /\u003emy nerves.\u003cbr /\u003eI\u0026#39;m going up the wall.\u003cbr /\u003eI\u0026#39;m over-exalted about tomorrow.\u003cbr /\u003eFear of failure?\u003cbr /\u003eA true performance can never fail.\u003cbr /\u003eI wish a second Jan Fabre existed.\u003cbr /\u003eI would sacrifice him with a flint axe.\u003cbr /\u003eCut him open lengthwise.\u003cbr /\u003eTake out his heart, his liver, his kidneys, his spleen,\u003cbr /\u003ehis stomach and then his intestines and drape them\u003cbr /\u003eround me like jewellery.\u003cbr /\u003eCut him into pieces and slowly let the pieces\u003cbr /\u003eof Jan Fabre flesh cook and crispen over a fire so\u003cbr /\u003eI can eat him with great relish.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 15 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;My performance of \u0026#39;Art as a Gamble, Gamble\u003cbr /\u003eas an Art\u0026#39; was sterile.\u003cbr /\u003eIt was too carefully planned and too conceptual.\u003cbr /\u003eThe critics who had to gamble agains me\u003cbr /\u003ebehaved like shy, bad actors.\u003cbr /\u003eWhen I conducted them while they read out\u003cbr /\u003ewhat they had written, they refused to follow\u003cbr /\u003emy musical lead. They were too concerned\u003cbr /\u003ewith their own ego, which was in the spotlight.\u003cbr /\u003eThere was no action, no reaction.\u003cbr /\u003eWhile I was in action I had the feeling I was creating\u003cbr /\u003ean installation with dead extras.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The applause was respectable.\u003cbr /\u003eThe reactions afterwards were good.\u003cbr /\u003eThere was someone who said: \u0026#39;Intellectually\u003cbr /\u003eit was very dense and rich.\u0026#39;\u003cbr /\u003eWhat rubbish.\u003cbr /\u003eMy aim was the exact opposite.\u003cbr /\u003eI wanted to cause a physical sensation in the audience.\u003cbr /\u003eI wanted to make their bodies think,\u003cbr /\u003enot make their intellect feel.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 17 March 1981)\u003c/strong\u003e\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e16.3.1981\u003cbr /\u003e​New York, School of Visual Arts\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eHier kaart Fabre de relatie tussen de kunstenaar en kunstcritici aan. Jan Fabre onderwerpt een aantal critici aan spelregels en dirigeert hen terwijl zij hun kritiek lezen. Vervolgens speelt de kunstenaar kansspelen met hen.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The practical preparations for my performance\u003cbr /\u003e\u0026#39;Art as a Gamble, Gamble as an Art\u0026#39;, which I\u0026#39;m going\u003cbr /\u003eto do at the School of Visual Arts, are not going\u003cbr /\u003esmoothly, but it is satisfying as an artistic journey.\u003cbr /\u003eI see images, I see actions.\u003cbr /\u003eNow I still want to put it into words.\u003cbr /\u003eWhy do it like this and not otherwise?\u003cbr /\u003eInstinct.\u003cbr /\u003eThe image comes before knowledge.\u003cbr /\u003eAnd language after that?\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 13 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Timothy Binkley gave me a no. 314 to calm\u003cbr /\u003emy nerves.\u003cbr /\u003eI\u0026#39;m going up the wall.\u003cbr /\u003eI\u0026#39;m over-exalted about tomorrow.\u003cbr /\u003eFear of failure?\u003cbr /\u003eA true performance can never fail.\u003cbr /\u003eI wish a second Jan Fabre existed.\u003cbr /\u003eI would sacrifice him with a flint axe.\u003cbr /\u003eCut him open lengthwise.\u003cbr /\u003eTake out his heart, his liver, his kidneys, his spleen,\u003cbr /\u003ehis stomach and then his intestines and drape them\u003cbr /\u003eround me like jewellery.\u003cbr /\u003eCut him into pieces and slowly let the pieces\u003cbr /\u003eof Jan Fabre flesh cook and crispen over a fire so\u003cbr /\u003eI can eat him with great relish.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 15 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;My performance of \u0026#39;Art as a Gamble, Gamble\u003cbr /\u003eas an Art\u0026#39; was sterile.\u003cbr /\u003eIt was too carefully planned and too conceptual.\u003cbr /\u003eThe critics who had to gamble agains me\u003cbr /\u003ebehaved like shy, bad actors.\u003cbr /\u003eWhen I conducted them while they read out\u003cbr /\u003ewhat they had written, they refused to follow\u003cbr /\u003emy musical lead. They were too concerned\u003cbr /\u003ewith their own ego, which was in the spotlight.\u003cbr /\u003eThere was no action, no reaction.\u003cbr /\u003eWhile I was in action I had the feeling I was creating\u003cbr /\u003ean installation with dead extras.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The applause was respectable.\u003cbr /\u003eThe reactions afterwards were good.\u003cbr /\u003eThere was someone who said: \u0026#39;Intellectually\u003cbr /\u003eit was very dense and rich.\u0026#39;\u003cbr /\u003eWhat rubbish.\u003cbr /\u003eMy aim was the exact opposite.\u003cbr /\u003eI wanted to cause a physical sensation in the audience.\u003cbr /\u003eI wanted to make their bodies think,\u003cbr /\u003enot make their intellect feel.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 17 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003e16.3.1981\u003cbr /\u003e​New York, School of Visual Arts\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The practical preparations for my performance\u003cbr /\u003e\u0026#39;Art as a Gamble, Gamble as an Art\u0026#39;, which I\u0026#39;m going\u003cbr /\u003eto do at the School of Visual Arts, are not going\u003cbr /\u003esmoothly, but it is satisfying as an artistic journey.\u003cbr /\u003eI see images, I see actions.\u003cbr /\u003eNow I still want to put it into words.\u003cbr /\u003eWhy do it like this and not otherwise?\u003cbr /\u003eInstinct.\u003cbr /\u003eThe image comes before knowledge.\u003cbr /\u003eAnd language after that?\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 13 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Timothy Binkley gave me a no. 314 to calm\u003cbr /\u003emy nerves.\u003cbr /\u003eI\u0026#39;m going up the wall.\u003cbr /\u003eI\u0026#39;m over-exalted about tomorrow.\u003cbr /\u003eFear of failure?\u003cbr /\u003eA true performance can never fail.\u003cbr /\u003eI wish a second Jan Fabre existed.\u003cbr /\u003eI would sacrifice him with a flint axe.\u003cbr /\u003eCut him open lengthwise.\u003cbr /\u003eTake out his heart, his liver, his kidneys, his spleen,\u003cbr /\u003ehis stomach and then his intestines and drape them\u003cbr /\u003eround me like jewellery.\u003cbr /\u003eCut him into pieces and slowly let the pieces\u003cbr /\u003eof Jan Fabre flesh cook and crispen over a fire so\u003cbr /\u003eI can eat him with great relish.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 15 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;My performance of \u0026#39;Art as a Gamble, Gamble\u003cbr /\u003eas an Art\u0026#39; was sterile.\u003cbr /\u003eIt was too carefully planned and too conceptual.\u003cbr /\u003eThe critics who had to gamble agains me\u003cbr /\u003ebehaved like shy, bad actors.\u003cbr /\u003eWhen I conducted them while they read out\u003cbr /\u003ewhat they had written, they refused to follow\u003cbr /\u003emy musical lead. They were too concerned\u003cbr /\u003ewith their own ego, which was in the spotlight.\u003cbr /\u003eThere was no action, no reaction.\u003cbr /\u003eWhile I was in action I had the feeling I was creating\u003cbr /\u003ean installation with dead extras.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The applause was respectable.\u003cbr /\u003eThe reactions afterwards were good.\u003cbr /\u003eThere was someone who said: \u0026#39;Intellectually\u003cbr /\u003eit was very dense and rich.\u0026#39;\u003cbr /\u003eWhat rubbish.\u003cbr /\u003eMy aim was the exact opposite.\u003cbr /\u003eI wanted to cause a physical sensation in the audience.\u003cbr /\u003eI wanted to make their bodies think,\u003cbr /\u003enot make their intellect feel.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 17 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":12556,"title":"After Art","dimensions":"00:34:00","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":128,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"40, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":33,"permalink":"after-art","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/000/027/501/large/still.jpg?1426170645","poster_credits":"(c)Angelos bvba, Collection M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e24.10.1980\u003cbr /\u003eMilwaukee, Helfaer Theatre\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eDuring this performance the artist will undergo several metamorphoses. He steps in the outlines of a man, drawn on the stage with shaving cream. As he plays with different transformations he frequently stops to study his new image in the mirror.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Did my performance \u0026#39;After Art\u0026#39; today.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eLots of students and philosophers came to watch.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eReactions were very positive.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eIt\u0026#39;s just that the sentences\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;It sounds very interesting\u0026#39; and \u0026#39;It looks fantastic\u0026#39;\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eare starting to drive me mad.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Milwaukee, 24 October 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e24.10.1980\u003cbr /\u003eMilwaukee, Helfaer Theatre\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn deze performance zal de kunstenaar zich meermaals metamorfoseren. Hij stapt in de lijnen van een man en neemt zijn vorm aan. Terwijl hij speelt met verschillende transformaties bestudeert hij zijn nieuwe beeltenis geregeld in de spiegel.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Did my performance \u0026#39;After Art\u0026#39; today.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eLots of students and philosophers came to watch.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eReactions were very positive.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eIt\u0026#39;s just that the sentences\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;It sounds very interesting\u0026#39; and \u0026#39;It looks fantastic\u0026#39;\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eare starting to drive me mad.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Milwaukee, 24 October 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003e24.10.1980\u003cbr /\u003eMilwaukee, Helfaer Theatre\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Did my performance \u0026#39;After Art\u0026#39; today.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eLots of students and philosophers came to watch.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eReactions were very positive.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eIt\u0026#39;s just that the sentences\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;It sounds very interesting\u0026#39; and \u0026#39;It looks fantastic\u0026#39;\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eare starting to drive me mad.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Milwaukee, 24 October 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":12567,"title":"American Works and Window Performance","dimensions":"03:00:00","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"43, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":24,"permalink":"american-works-and-window-performance","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/000/027/508/large/1980_AMERICAN_WORKS_AND_WINDOW_PERFORMANCE.jpg?1426175981","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e5.12.1980\u003cbr /\u003eAntwerp, Galerie Blanco\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAs homage to his stay in America Jan Fabre places himself in the shopwindow like a prostitute, eats peanuts (reference to president Jimmy Carter), writes poetic texts on the window and makes drawings with lipstick. He has bouncers with baseball bats stand guard outside the art gallery and he serves Campbell\u0026rsquo;s soup.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003e\u0026#39;It\u0026#39;s three in the morning.\u003c/em\u003e\u003c/strong\u003e\u003cbr /\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003eI\u0026#39;ve just got home.\u003c/em\u003e\u003c/strong\u003e\u003cbr /\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003eThe preview at the Blanco gallery was lively.\u003c/em\u003e\u003c/strong\u003e\u003cbr /\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003eEnergy, vitality and an ongoing performance.\u003c/em\u003e\u003c/strong\u003e\u003cbr /\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003eThe public were standing outside waiting to get in.\u003c/em\u003e\u003c/strong\u003e\u003cbr /\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003e(A bit like the atmosphere of Studio 54 in NYC.)\u003c/em\u003e\u003c/strong\u003e\u003cbr /\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003eSome people were angry, of course,\u003c/em\u003e\u003c/strong\u003e\u003cbr /\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003ebecause they had to wait and pay to get in.\u003c/em\u003e\u003c/strong\u003e\u003cbr /\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003eThis was \u0026#39;never done\u0026#39; in Antwerp\u003c/em\u003e\u003c/strong\u003e\u003cbr /\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003eand the locals became aggressive.\u003c/em\u003e\u003c/strong\u003e\u003cbr /\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003eBut I was prepared.\u003c/em\u003e\u003c/strong\u003e\u003cbr /\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003eThe gallery was closed off with thin ropes\u003c/em\u003e\u003c/strong\u003e\u003cbr /\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003eand I had put two men with baseball bats\u003c/em\u003e\u003c/strong\u003e\u003cbr /\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003eat the door.\u003c/em\u003e\u003c/strong\u003e\u003cbr /\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003eI had a wonderful time watching the reactions.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 5 December 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Today I saw some photos of my\u003cbr /\u003e\u0026#39;Window Performance\u0026#39; at the Blanco gallery.\u003cbr /\u003eIn some of them I look like Gust the Gorilla\u003cbr /\u003eat the Zoo, sitting eating monkey nuts.\u003cbr /\u003eIn another I\u0026#39;m a young art-whore\u003cbr /\u003ewho takes himself too seriously.\u003cbr /\u003eAnd in one photo I look like I am:\u003cbr /\u003edangerous and unpredictable.\u003cbr /\u003e(I\u0026#39;m afraid of myself when I see myself like that.)\u003cbr /\u003eART KEEPS ME SANE?\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, 8 December 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e5.12.1980\u003cbr /\u003eAntwerp, Galerie Blanco\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAls hommage aan zijn verblijf in Amerika wilt Jan Fabre zijn ervaringen delen. Hij laat buitenwippers de galerie bewaken met baseballbats en serveert Campbell\u0026rsquo;s soep. De kunstenaar plaats zich in de vitrine, als een prostituee, en maakt tekeningen met lipsticks.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong style=\"line-height:1.6\"\u003e\u003cem\u003e\u0026#39;It\u0026#39;s three in the morning.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI\u0026#39;ve just got home.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe preview at the Blanco gallery was lively.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eEnergy, vitality and an ongoing performance.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe public were standing outside waiting to get in.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003e(A bit like the atmosphere of Studio 54 in NYC.)\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eSome people were angry, of course,\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ebecause they had to wait and pay to get in.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThis was \u0026#39;never done\u0026#39; in Antwerp\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand the locals became aggressive.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eBut I was prepared.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe gallery was closed off with thin ropes\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand I had put two men with baseball bats\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eat the door.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eI had a wonderful time watching the reactions.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 5 December 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Today I saw some photos of my\u003cbr /\u003e\u0026#39;Window Performance\u0026#39; at the Blanco gallery.\u003cbr /\u003eIn some of them I look like Gust the Gorilla\u003cbr /\u003eat the Zoo, sitting eating monkey nuts.\u003cbr /\u003eIn another I\u0026#39;m a young art-whore\u003cbr /\u003ewho takes himself too seriously.\u003cbr /\u003eAnd in one photo I look like I am:\u003cbr /\u003edangerous and unpredictable.\u003cbr /\u003e(I\u0026#39;m afraid of myself when I see myself like that.)\u003cbr /\u003eART KEEPS ME SANE?\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, 8 December 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12582,"title":"Tower of Silent Words (with Jacob's Golden Ladder) (II)","dimensions":"21 x 30 x 30 cm","date_begin":"1981-01-01","material":"wood, stone and gold leaf","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Angelos bvba","cached_tag_list":"relief, thinking model, model, maquette, object, Sculpture","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"tower-of-silent-words-with-jacob-s-golden-ladder-ii","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/000/027/537/large/KIJKDENKMOD477.jpg?1426238588","poster_credits":"(c)Angelos bvba, photo: Pat Verbruggen","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12607,"title":"Bill us later","dimensions":"","date_begin":"1981-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection Angelos bvba","cached_tag_list":"various sizes, application forms for art magazines","publishing_process_id":1,"annotation":"","date_end":"1982-01-01","reference":"","stream_count_app":16,"permalink":"bill-us-later--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/581/large/1979_BILL_US_LATER_LH_011.jpg?1426249695","poster_credits":"(c)Angelos bvba, photo: Lieven Herreman","translations":[{"locale":"en","description":"\u003cp\u003eApplication forms for art magazines.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eAanvraagformulieren voor kunsttijdschriften.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12630,"title":"The Scheldt (Hey, what a pleasant madness!) (Series)","dimensions":"21 x 29.5 cm","date_begin":"1987-01-01","material":"watercolour and Bic ballpoint pen on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Collection Angelos bvba","cached_tag_list":"tekening, Jan Fabre, drawing","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":26,"permalink":"the-scheldt-hey-what-a-pleasant-madness-series","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/000/027/604/large/1987_HE_WAT_EEN_PLEZIERIGE_ZOTTIGHEID_001d.jpg?1426254925","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12564,"title":"The Creative Hitler Act","dimensions":"01:00:00","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"42, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":21,"permalink":"the-creative-hitler-act","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/000/027/504/large/JF_CreativeHitlerAct_3.jpg?1426171487","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e7.11.1980\u003cbr /\u003eMilwaukee, Saint-Louis University\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eThe \u003c/em\u003e\u003cem\u003eCreative Hitler Act\u003c/em\u003e (an allusion to Duchamp\u0026rsquo;s \u003cem\u003eThe Creative Act\u003c/em\u003e) is concerned with the artist as dictator. Jan Fabre adapts pages and phrases from fairytales, generating new meanings. The artist as individualist determines the language he uses.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Performed \u0026#39;The Creative Hitler Act\u0026#39; today.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eMy response to Marcel Duchamp\u0026#39;s\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003elegendary lecture \u0026#39;The Creative Act\u0026#39;.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eConfusion prevailed.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eThe brains went haywire and their\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eunderbelly was emty.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eInterpretations went in some horrible directions.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e(I permitted it with laughing eyes\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eand an angry mouth.)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Milwaukee, 7 November 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e7.11.1980\u003cbr /\u003eMilwaukee, Saint-Louis University\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cem\u003eThe\u0026nbsp;Creative Hitler Act \u003c/em\u003e(een allusie op Duchamp\u0026rsquo;s \u003cem\u003eThe Creative Act\u003c/em\u003e) gaat over de de kunstenaar als dictator. Jan Fabre bewerkt pagina\u0026rsquo;s en zinnen uit sprookjesboeken zodat er nieuwe betekenissen ontstaan. De kunstenaar bepaalt als enkeling de taal die hij hanteert.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Performed \u0026#39;The Creative Hitler Act\u0026#39; today.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eMy response to Marcel Duchamp\u0026#39;s\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003elegendary lecture \u0026#39;The Creative Act\u0026#39;.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eConfusion prevailed.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eThe brains went haywire and their\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eunderbelly was emty.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eInterpretations went in some horrible directions.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e(I permitted it with laughing eyes\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eand an angry mouth.)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Milwaukee, 7 November 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003e7.11.1980\u003cbr /\u003eMilwaukee, Saint-Louis University\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Performed \u0026#39;The Creative Hitler Act\u0026#39; today.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eMy response to Marcel Duchamp\u0026#39;s\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003elegendary lecture \u0026#39;The Creative Act\u0026#39;.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eConfusion prevailed.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eThe brains went haywire and their\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eunderbelly was emty.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eInterpretations went in some horrible directions.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e(I permitted it with laughing eyes\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eand an angry mouth.)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Milwaukee, 7 November 1980)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":12602,"title":"Music Performances: Homo Fabere: This ain't work this is evolution","dimensions":"01:20:00","date_begin":"1981-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"53 actie Jan Fabre action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"music-performances-homo-fabere-this-ain-t-work-this-is-evolution","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/000/027/572/large/1981_HOMO_FABERE_POSTER_LH_001.jpg?1426248717","poster_credits":"(c)Angelos bvba, Collection M HKA, photo: Lieven Herreman","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e18.9.1981\u003cbr /\u003e\r\nAntwerp, CC Ter Dilft\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eThis music performance is presented by Jan Fabre and the rock group M. Bryo \u0026amp; DMT. The song lyrics, written by the artist, frequently refer to his other performances.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e18.9.1981\u003cbr /\u003e\r\n​Antwerpen, CC Ter Dilft\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eDeze muzikale performance werd gebracht door Jan Fabre en zijn rockgroep M. Bryo \u0026amp; DMT. De songteksten, die de kunstenaar schreef, verwijzen geregeld naar zijn andere performances.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":12611,"title":"We went uptown and let us tell you, it was fantastic","dimensions":"2 evenings a week","date_begin":"1982-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"56, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"we-went-uptown-and-let-us-tell-you-it-was-fantastic","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/000/027/584/large/1982_UPTOWN_INVITE_001.jpg?1426250143","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e22.2.1982\u003cbr /\u003eNew York, Park Avenue\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn collaboration with friend and artist Anson Seeno, Fabre makes and signs small drawings on dollar bills. He tries to sell these and bags of salt as visual art works to passers-by. This performance touches upon the value of the artist\u0026rsquo;s signature.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;It\u0026#39;s really great doing things without planning them.\u003cbr /\u003eJust for fun.\u003cbr /\u003eToday I did a performance with Anson Seeno\u003cbr /\u003eon Park Avenue (Uptown).\u003cbr /\u003eWe set ourselves up at a table outside a bank.\u003cbr /\u003eWe signed packets of salt and 1 dollar notes\u003cbr /\u003eand tried to sell them.\u003cbr /\u003eDidn\u0026#39;t sell anything, but had a fantastic blazing\u003cbr /\u003eargument with a group of sometimes\u003cbr /\u003e10 to 15 passers-by on the miraculous relationship\u003cbr /\u003ebetween capitalism and art.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 22 February 1982)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e22.2.1982\u003cbr /\u003eNew York, Park Avenue\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eJan Fabre maakte met de bevriende kunstenaar Anson Seeno tekeningen op dollarbiljetjes. Hij trachtte deze en zakjes zout te verkopen als beeldende kunst aan passanten op straat.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;It\u0026#39;s really great doing things without planning them.\u003cbr /\u003eJust for fun.\u003cbr /\u003eToday I did a performance with Anson Seeno\u003cbr /\u003eon Park Avenue (Uptown).\u003cbr /\u003eWe set ourselves up at a table outside a bank.\u003cbr /\u003eWe signed packets of salt and 1 dollar notes\u003cbr /\u003eand tried to sell them.\u003cbr /\u003eDidn\u0026#39;t sell anything, but had a fantastic blazing\u003cbr /\u003eargument with a group of sometimes\u003cbr /\u003e10 to 15 passers-by on the miraculous relationship\u003cbr /\u003ebetween capitalism and art.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 22 February 1982)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12709,"title":"To Bring an End to the Royal Judgement and the Judgement of God (Homage to Antonin Artaud)","dimensions":"00:31:00","date_begin":"2009-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Judgement, 88, Jan, Fabre, performance","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"to-bring-an-end-to-the-royal-judgement-and-the-judgement-of-god-homage-to-antonin-artaud","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/000/027/266/large/2009_ROYAL_JUDGEMENT_003.jpg?1425989307","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e29.10.2009\u003cbr /\u003eRome, Zerynthia Gallery\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eBecause it is forbidden to publish this text - written in 1981 - in Belgium, Jan Fabre waits until 2009 to read it on Italian radio. The text deals with Belgium\u0026rsquo;s colonial past.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e29.10.2009\u003cbr /\u003eRome, Zerynthia Gallery\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eOmdat het verboden was om de, in 1981 geschreven, tekst te publiceren in Belgi\u0026euml; heeft Jan Fabre gewacht tot 2009 om hem voor te dragen voor de Italiaanse radio. De tekst handelt over het koloniaal verleden van Belgi\u0026euml;.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12715,"title":"Do we feel with our brain and think with our heart?","dimensions":"","date_begin":"2013-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"Rizzolatti, Giacomo, Heart, 90, Brain, Jan, Fabre, performance","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":28,"permalink":"do-we-feel-with-our-brain-and-think-with-our-heart--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/277/large/performance_still.jpg?1425993184","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e2013, Parma\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eHere the artist is in conversation with the Italian professor Giacomo Rizolatti, the scientist who discovered the mirror neurons with which we perceive empathy. Fabre\u0026rsquo;s famous marble sculptures \u003cem\u003ePietas\u003c/em\u003e are based on this discovery.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;It is now three in the morning.\u003cbr /\u003eThis time I can\u0026#39;t sleep\u003cbr /\u003ebecause my mirror neurons are still\u003cbr /\u003efloating around and dancing with delight.\u003cbr /\u003ePOST REFLECTIONS\u003cbr /\u003eThe whole day, during the film shoot, enjoyed\u003cbr /\u003ethe open mind and playful performance\u003cbr /\u003eby the marvellous Professor Giacomo Rizzolatti.\u003cbr /\u003eWhat lovely people.\u003cbr /\u003eThe searching and discovering man.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre,Parma, 29 November 2012)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e2013, Parma\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eHier voert de kunstenaar een gesprek met de Italiaanse professor Giacomo Rizolatti. De wetenschapper is de ontdekker van de spiegelneuronen waarmee we empathie voelen. De marmeren \u003cem\u003ePietas\u003c/em\u003e van Fabre zijn op deze ontdekking gebaseerd.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;It is now three in the morning.\u003cbr /\u003eThis time I can\u0026#39;t sleep\u003cbr /\u003ebecause my mirror neurons are still\u003cbr /\u003efloating around and dancing with delight.\u003cbr /\u003ePOST REFLECTIONS\u003cbr /\u003eThe whole day, during the film shoot, enjoyed\u003cbr /\u003ethe open mind and playful performance\u003cbr /\u003eby the marvellous Professor Giacomo Rizzolatti.\u003cbr /\u003eWhat lovely people.\u003cbr /\u003eThe searching and discovering man.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre,Parma, 29 November 2012)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003e2013, Parma\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;It is now three in the morning.\u003cbr /\u003eThis time I can\u0026#39;t sleep\u003cbr /\u003ebecause my mirror neurons are still\u003cbr /\u003efloating around and dancing with delight.\u003cbr /\u003ePOST REFLECTIONS\u003cbr /\u003eThe whole day, during the film shoot, enjoyed\u003cbr /\u003ethe open mind and playful performance\u003cbr /\u003eby the marvellous Professor Giacomo Rizzolatti.\u003cbr /\u003eWhat lovely people.\u003cbr /\u003eThe searching and discovering man.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre,Parma, 29 November 2012)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":12614,"title":"It is Kill or Cure","dimensions":"01:00:00","date_begin":"1982-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"57, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":22,"permalink":"it-is-kill-or-cure","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/000/027/587/large/Jan_Fabre__It_Is_Kill_Or_Cure_.jpg?1426250740","poster_credits":"(c)Angelos bvba, photo: Patrick Sellitto","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e4.3.1982\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNew York, Franklin Furnace\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eThis performance is conceived as a reaction to an abandoned idea. The original design was to have art critics take shots at the artist, as Russian roulette, with only one gun with one bullet. The organiser vetoed the idea however.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;New York isn\u0026#39;t good for me.\u003cbr /\u003eI get too many impressions, too many ideas\u003cbr /\u003eand consequently too much energy.\u003cbr /\u003eI want to promise myself not to do any drawings\u003cbr /\u003efor the next three days and not to write either.\u003cbr /\u003eThe only thing I\u0026#39;m allowed to do tomorrow is\u003cbr /\u003edesign and make a sort of mask / muzzle in leather\u003cbr /\u003e(as if for a dangerous dog). It\u0026#39;s meant to stop me\u003cbr /\u003eeating and seeing. So I can fast, both physically\u003cbr /\u003eand visually, and withdraw into my imagination.\u003cbr /\u003eAs a sort of preparation for my performance\u003cbr /\u003e\u0026#39;It is Kill or Cure\u0026#39;, which I\u0026#39;m going to do at Franklin\u003cbr /\u003eFurnace (the last true artistic santuary in\u003cbr /\u003eManhattan. With the fantastic Martha Wilson\u003cbr /\u003ewho keeps the business running).\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 7 February 1982)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;I\u0026#39;m too agitated.\u003cbr /\u003eI change my ideas every day.\u003cbr /\u003eWhat actions will I carry out during\u003cbr /\u003emy performance \u0026#39;It is Kill or Cure\u0026#39;?\u003cbr /\u003eI have to give a place to my dark side.\u003cbr /\u003eAnd realise that ecstasy can\u0026#39;t be invented.\u003cbr /\u003eThe action of the ecstasy is turned completely\u003cbr /\u003ein on itself.\u003cbr /\u003eSo it\u0026#39;s a matter of creating at the moment itself.\u003cbr /\u003eImprovising and surviving.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 27 February 1982)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e4.3.1982\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNew York, Franklin Furnace\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eDeze performance is opgevat als reactie op een verlaten idee. Het originele idee bestond eruit om kunstcritici te laten schieten op kunstenaars, zoals in een Russische roulette, met enkel \u0026eacute;\u0026eacute;n geweer en \u0026eacute;\u0026eacute;n kogel. De organisator stelde echter zijn veto.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;New York isn\u0026#39;t good for me.\u003cbr /\u003eI get too many impressions, too many ideas\u003cbr /\u003eand consequently too much energy.\u003cbr /\u003eI want to promise myself not to do any drawings\u003cbr /\u003efor the next three days and not to write either.\u003cbr /\u003eThe only thing I\u0026#39;m allowed to do tomorrow is\u003cbr /\u003edesign and make a sort of mask / muzzle in leather\u003cbr /\u003e(as if for a dangerous dog). It\u0026#39;s meant to stop me\u003cbr /\u003eeating and seeing. So I can fast, both physically\u003cbr /\u003eand visually, and withdraw into my imagination.\u003cbr /\u003eAs a sort of preparation for my performance\u003cbr /\u003e\u0026#39;It is Kill or Cure\u0026#39;, which I\u0026#39;m going to do at Franklin\u003cbr /\u003eFurnace (the last true artistic santuary in\u003cbr /\u003eManhattan. With the fantastic Martha Wilson\u003cbr /\u003ewho keeps the business running).\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 7 February 1982)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;I\u0026#39;m too agitated.\u003cbr /\u003eI change my ideas every day.\u003cbr /\u003eWhat actions will I carry out during\u003cbr /\u003emy performance \u0026#39;It is Kill or Cure\u0026#39;?\u003cbr /\u003eI have to give a place to my dark side.\u003cbr /\u003eAnd realise that ecstasy can\u0026#39;t be invented.\u003cbr /\u003eThe action of the ecstasy is turned completely\u003cbr /\u003ein on itself.\u003cbr /\u003eSo it\u0026#39;s a matter of creating at the moment itself.\u003cbr /\u003eImprovising and surviving.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 27 February 1982)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003e4.3.1982\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eNew York, Franklin Furnace\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;New York isn\u0026#39;t good for me.\u003cbr /\u003eI get too many impressions, too many ideas\u003cbr /\u003eand consequently too much energy.\u003cbr /\u003eI want to promise myself not to do any drawings\u003cbr /\u003efor the next three days and not to write either.\u003cbr /\u003eThe only thing I\u0026#39;m allowed to do tomorrow is\u003cbr /\u003edesign and make a sort of mask / muzzle in leather\u003cbr /\u003e(as if for a dangerous dog). It\u0026#39;s meant to stop me\u003cbr /\u003eeating and seeing. So I can fast, both physically\u003cbr /\u003eand visually, and withdraw into my imagination.\u003cbr /\u003eAs a sort of preparation for my performance\u003cbr /\u003e\u0026#39;It is Kill or Cure\u0026#39;, which I\u0026#39;m going to do at Franklin\u003cbr /\u003eFurnace (the last true artistic santuary in\u003cbr /\u003eManhattan. With the fantastic Martha Wilson\u003cbr /\u003ewho keeps the business running).\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 7 February 1982)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;I\u0026#39;m too agitated.\u003cbr /\u003eI change my ideas every day.\u003cbr /\u003eWhat actions will I carry out during\u003cbr /\u003emy performance \u0026#39;It is Kill or Cure\u0026#39;?\u003cbr /\u003eI have to give a place to my dark side.\u003cbr /\u003eAnd realise that ecstasy can\u0026#39;t be invented.\u003cbr /\u003eThe action of the ecstasy is turned completely\u003cbr /\u003ein on itself.\u003cbr /\u003eSo it\u0026#39;s a matter of creating at the moment itself.\u003cbr /\u003eImprovising and surviving.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 27 February 1982)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":12705,"title":"Homage to Stephen Hawking","dimensions":"16 x 28 x 28 cm","date_begin":"2007-01-01","material":"Silicone, paint, stainless steel, rubber","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":154,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Angelos bvba","cached_tag_list":"Hawking, Stephen, Homage, Brain, 86, Jan, Fabre, thinking model","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"homage-to-stephen-hawking","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/000/027/212/large/2007_HOMMAGE_TO_STEPHEN_HAWKING_LH_001.jpg?1425978039","poster_credits":"(c)Angelos bvba, photo: Lieven Herreman","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12606,"title":"Bill us later","dimensions":"over several years","date_begin":"1981-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"54, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":"1982-01-01","reference":"","stream_count_app":19,"permalink":"bill-us-later","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/000/027/580/large/1981_BILL_US_LATER_PHOTO_LH_001.jpg?1426249654","poster_credits":"(c)Angelos bvba, photo: Patrick Sellitto","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eNew York, Mott Street Gallery\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eTogether with his friend, the American photographer Patrick T. Sellitto, Jan Fabre orders a lot of art magazines with the message \u0026lsquo;Bill me later\u0026rsquo;. The mailed magazines are then used by the two friends to build a wall in front of their apartment in Mott Street.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Continued working on the \u0026#39;Bill us later\u0026#39; project with\u003cbr /\u003ePatrick T. Sellitto these last few days.\u003cbr /\u003eIf we keep it up several art magazines\u003cbr /\u003ewill go bankrupt.\u003cbr /\u003eToday we put more than 700 mail order cards\u003cbr /\u003e(with false names and addresses in Europe)\u003cbr /\u003ein the mailbox.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 18 February 1982)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eNew York, Mott Street Gallery\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eSamen met zijn vriend, de Amerikaanse fotograaf Patrick T. Sellitto, bestelde Jan Fabre een hele boel kunstmagazines met de boodschap \u0026ldquo;Bill me later\u0026rdquo;. Met de opgestuurde tijdschriften trokken de twee een muur op voor hun appartement in Mott Street.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Continued working on the \u0026#39;Bill us later\u0026#39; project with\u003cbr /\u003ePatrick T. Sellitto these last few days.\u003cbr /\u003eIf we keep it up several art magazines\u003cbr /\u003ewill go bankrupt.\u003cbr /\u003eToday we put more than 700 mail order cards\u003cbr /\u003e(with false names and addresses in Europe)\u003cbr /\u003ein the mailbox.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 18 February 1982)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12700,"title":"Is the brain the most sexy part of the body?","dimensions":"","date_begin":"2007-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"Brain, Wilson, Edward, 86, Jan, Fabre, performance","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":25,"permalink":"is-the-brain-the-most-sexy-part-of-the-body","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/000/027/199/large/brain.JPG?1425975168","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e2007\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBoston, Harvard University\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn this film the scientist Edward O. Wilson and the artist Jan Fabre are put across each other. Their respective domains must reach a consilience to better understand the brain and the beauty.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Am I a simple soul?\u003cbr /\u003eBecause my brain does not yet feel\u003cbr /\u003ewhat my heart can already think?\u003cbr /\u003eIs it true that the brain\u003cbr /\u003eis the most sexy part of the body?\u003cbr /\u003eToday\u0026#39;s performance with\u003cbr /\u003ethe entomologist and biologist\u003cbr /\u003eEdward O. Wilson\u003cbr /\u003ewas a search for the consilience\u003cbr /\u003ebetween the sciences and art.\u003cbr /\u003e(There is an arrow through my brain!)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Boston, 17 November 2006)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e2007\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBoston, Harvard University\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn deze film worden de wetenschapper, Edward O. Wilson en de kunstenaar, Jan Fabre, tegenover elkaar gezet. Hun domeinen moeten elkaar in een consilience raken om de hersenen en de schoonheid beter te begrijpen.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Am I a simple soul?\u003cbr /\u003eBecause my brain does not yet feel\u003cbr /\u003ewhat my heart can already think?\u003cbr /\u003eIs it true that the brain\u003cbr /\u003eis the most sexy part of the body?\u003cbr /\u003eToday\u0026#39;s performance with\u003cbr /\u003ethe entomologist and biologist\u003cbr /\u003eEdward O. Wilson\u003cbr /\u003ewas a search for the consilience\u003cbr /\u003ebetween the sciences and art.\u003cbr /\u003e(There is an arrow through my brain!)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Boston, 17 November 2006)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12580,"title":"Performance X ... Art as a Cultivated Boredom","dimensions":"","date_begin":"1981-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"46, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"performance-x-art-as-a-cultivated-boredom","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/000/027/535/large/1981_PERFORMANCE_X_LH_004.jpg?1426238415","poster_credits":"(c)Angelos bvba, photo: Lieven Herreman","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eParis, C.A.I.R.N. Performance Festival\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eJan Fabre never carried out this performance. The artist intended to create a new language by means of punning. At the same time he would climb out of a self-made tower with a golden ladder.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong style=\"line-height:1.6\"\u003e= NEVER PERFORMED\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The C.A.I.R.N. performance festival is badly\u003cbr /\u003eorganised.\u003cbr /\u003eAnd what a low standard of performances.\u003cbr /\u003eThe ones I have seen were dustbins full\u003cbr /\u003eof ignorance, without risk or vision.\u003cbr /\u003eI have a vague suspicion (to put it mildly) that most\u003cbr /\u003eof these performance artists are simply bad visual\u003cbr /\u003eartists and therefore misuse the performance\u003cbr /\u003emedium to hide their non-talent.\u003cbr /\u003eI have decided not to do my new performance here.\u003cbr /\u003eI want to leave quietly from this pretentious city\u003cbr /\u003ewhere they refuse to speak a word of English.\u003cbr /\u003eAnd where they think they are still the centre of the\u003cbr /\u003eworld. Frustrated by not having a king and queen,\u003cbr /\u003ethey have elected several intellectual popes.\u003cbr /\u003eAnd the only art they practise is that of the insult.\u003cbr /\u003eThe foreigner. The visitor. I have had the\u003cbr /\u003eopportunity to physically experience their\u003cbr /\u003emoral superiority.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, 12 April 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eParis, C.A.I.R.N. Performance Festival\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eJan Fabre heeft deze performance nooit in uitvoering gebracht. In de performances zou de kunstenaar doormiddel van woordspelingen een nieuwe taal ontwikkelen. Gelijktijdig zou hij uit een zelfgebouwde toren klimmen op een gouden ladder.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e= NOOIT UITGEVOERD\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The C.A.I.R.N. performance festival is badly\u003cbr /\u003eorganised.\u003cbr /\u003eAnd what a low standard of performances.\u003cbr /\u003eThe ones I have seen were dustbins full\u003cbr /\u003eof ignorance, without risk or vision.\u003cbr /\u003eI have a vague suspicion (to put it mildly) that most\u003cbr /\u003eof these performance artists are simply bad visual\u003cbr /\u003eartists and therefore misuse the performance\u003cbr /\u003emedium to hide their non-talent.\u003cbr /\u003eI have decided not to do my new performance here.\u003cbr /\u003eI want to leave quietly from this pretentious city\u003cbr /\u003ewhere they refuse to speak a word of English.\u003cbr /\u003eAnd where they think they are still the centre of the\u003cbr /\u003eworld. Frustrated by not having a king and queen,\u003cbr /\u003ethey have elected several intellectual popes.\u003cbr /\u003eAnd the only art they practise is that of the insult.\u003cbr /\u003eThe foreigner. The visitor. I have had the\u003cbr /\u003eopportunity to physically experience their\u003cbr /\u003emoral superiority.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, 12 April 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12584,"title":"Ilad of the Bic Art, the Bic Art Room","dimensions":"3 days and 3 nights","date_begin":"1981-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"","cached_tag_list":"47, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":62,"permalink":"ilad-of-the-bic-art-the-bic-art-room--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/093/large/1981_BIC_ART_ROOM_BLUE_LH_003.jpg?1425502747","poster_credits":"(c)Angelos bvba, photo: Fred Balhuizen","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e22 - 24.1.1981\u003cbr /\u003eLeiden, Salon Odessa\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eJan Fabre lets himself be locked in for three days and three nights in an entirely white room, with white clothes and white food. He cultivates boredom as a source of art. During this period he covers the room and himself in words and signs.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;My room, the Salon \u0026#39;O\u0026#39; Gallery, is almost ready\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003efor three days and three nights without sleep\u003cbr /\u003eand with no difference between day and night.\u003cbr /\u003eEverything is white, even the food.\u003cbr /\u003eThree cameras will film me day and night.\u003cbr /\u003eNo privacy.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Leiden, 20 January 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;(Noted down in the Bic Art Room, copied\u003cbr /\u003eafterwards.)\u003cbr /\u003eI think it\u0026#39;s night.\u003cbr /\u003eI\u0026#39;m losing awareness of time\u003cbr /\u003eand can\u0026#39;t sleep,\u003cbr /\u003ebut there\u0026#39;s nothing wrong.\u003cbr /\u003eI\u0026#39;m starting to draw more and more out of boredom.\u003cbr /\u003eI\u0026#39;ve even drawn a rug on the floor next\u003cbr /\u003eto my bed.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI think it\u0026#39;s the early morning.\u003cbr /\u003eThe notion of art as cultivated boredom\u003cbr /\u003eis starting to take hold.\u003cbr /\u003eMy concentration is enhanced.\u003cbr /\u003eI\u0026#39;m covering my clothes with drawings, a mixture\u003cbr /\u003eof war camouflage and chameleon motifs.\u003cbr /\u003eI\u0026#39;m covering my body with drawings\u003cbr /\u003eof nonexistent organs.\u003cbr /\u003eI look like a Flemish aboriginal.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Leiden, 21 January 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;I think it\u0026rsquo;s the next day.\u003cbr /\u003eI\u0026rsquo;m very alert and lucid,\u003cbr /\u003eprobably from not sleeping.\u003cbr /\u003eI note every sensation in my body.\u003cbr /\u003eMy body is like a laboratory\u003cbr /\u003eon overtime\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI think it\u0026rsquo;s evening.\u003cbr /\u003eI\u0026rsquo;ve started drawing a big Dali moustache\u003cbr /\u003eon the white walls.\u003cbr /\u003eMy skull is overheated\u003cbr /\u003eand sometimes I cry for no reason.\u003cbr /\u003eI\u0026rsquo;m drawing constantly\u003cbr /\u003e(it doesn\u0026rsquo;t matter what I draw, as long as I\u0026rsquo;m drawing I\u0026rsquo;m alive).\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI think it\u0026rsquo;s night.\u003cbr /\u003eI\u0026rsquo;m drawing a big Ilad moustache\u003cbr /\u003eon the wall opposite my bed.\u003cbr /\u003eI\u0026rsquo;m drawing rugs on the floor under all the\u003cbr /\u003efurniture.\u003cbr /\u003eIt\u0026rsquo;s as if I were an Indian\u003cbr /\u003e(one with no wigwam or tribe).\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Leiden, 22 January 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;I\u0026rsquo;ve lost all sense of time.\u003cbr /\u003eI masturbate, I eat, I shit and I draw.\u003cbr /\u003eThere is no mirror, but my face is covered\u003cbr /\u003ein patches of blue Bic ink\u003cbr /\u003ebecause my hands are completely blue\u003cbr /\u003e(an Indian preparation for war).\u003cbr /\u003eI\u0026rsquo;ve become a drawing machine.\u003cbr /\u003eMy heart beats in my temples.\u003cbr /\u003eMy fingers are tingling and my muscles are tensing.\u003cbr /\u003eBut I\u0026rsquo;m on a lucid trip.\u003cbr /\u003eI\u0026rsquo;m gone.\u003cbr /\u003eSometimes I disappear and come back and I\u0026rsquo;ve done a drawing\u003cbr /\u003ethat astonishes me.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI talk to myself out loud,\u003cbr /\u003eI scream at the living\u003cbr /\u003eand whisper to the dead.\u003cbr /\u003eI don\u0026rsquo;t have any music,\u003cbr /\u003ebut I still dance a lot while I\u0026rsquo;m drawing.\u003cbr /\u003eMy skull is burning\u003cbr /\u003eand my mouth is constantly dry.\u003cbr /\u003eI\u0026rsquo;ve made my tongue blue with Bic ink\u003cbr /\u003e(I wanted to change from a street dog into a pedigree dog).\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI wake up with a start,\u003cbr /\u003eI\u0026rsquo;ve been asleep,\u003cbr /\u003eno idea how long.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI carry on drawing.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI want the white room to be full of blue drawings.\u003cbr /\u003eI also draw various butterflies and insects in every little corner.\u003cbr /\u003eArtificiality know no bounds\u003cbr /\u003eand the imagination is hot and burning\u003cbr /\u003elike my body.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Leiden, 23 January 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;It\u0026rsquo;s one o\u0026rsquo;clock in the night.\u003cbr /\u003eToday was the opening of the Bic Art Room,\u003cbr /\u003efrom 11 a.m. to 6 p.m.\u003cbr /\u003eThere were lots of people.\u003cbr /\u003eI was physically present, but mentally totally absent.\u003cbr /\u003eI still haven\u0026rsquo;t fully realised what I\u0026rsquo;ve created.\u003cbr /\u003eI need to stand back.\u003cbr /\u003eI\u0026rsquo;m too tired.\u003cbr /\u003e(Perhaps to me art is a matter of the physical\u003cbr /\u003eexperience. To be understood mentally afterwards.\u003cbr /\u003eWill these words become the intellectual alibi\u003cbr /\u003eor the artistic discours?)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Leiden, 25 January 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;I don\u0026rsquo;t feel the difference between a Wednesday\u003cbr /\u003eand a Sunday.\u003cbr /\u003eAll that exists are the dates when the projects start\u003cbr /\u003eand finish.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Leiden, 26 January 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e22 - 24.1.1981\u003cbr /\u003eLeiden, Salon Odessa\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eJan Fabre laat zich drie dagen en drie nachten opsluiten \u0026nbsp;in een volledig witte ruimte met witte kleren en wit voedsel. Hij cultiveert verveling tot een bron van kunst.\u0026nbsp; Zo zal hij heel de kamer, zichzelf incluis bekladden met teksten en tekens.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;My room, the Salon \u0026#39;O\u0026#39; Gallery, is almost ready\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003efor three days and three nights without sleep\u003cbr /\u003eand with no difference between day and night.\u003cbr /\u003eEverything is white, even the food.\u003cbr /\u003eThree cameras will film me day and night.\u003cbr /\u003eNo privacy.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Leiden, 20 January 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;(Noted down in the Bic Art Room, copied\u003cbr /\u003eafterwards.)\u003cbr /\u003eI think it\u0026#39;s night.\u003cbr /\u003eI\u0026#39;m losing awareness of time\u003cbr /\u003eand can\u0026#39;t sleep,\u003cbr /\u003ebut there\u0026#39;s nothing wrong.\u003cbr /\u003eI\u0026#39;m starting to draw more and more out of boredom.\u003cbr /\u003eI\u0026#39;ve even drawn a rug on the floor next\u003cbr /\u003eto my bed.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI think it\u0026#39;s the early morning.\u003cbr /\u003eThe notion of art as cultivated boredom\u003cbr /\u003eis starting to take hold.\u003cbr /\u003eMy concentration is enhanced.\u003cbr /\u003eI\u0026#39;m covering my clothes with drawings, a mixture\u003cbr /\u003eof war camouflage and chameleon motifs.\u003cbr /\u003eI\u0026#39;m covering my body with drawings\u003cbr /\u003eof nonexistent organs.\u003cbr /\u003eI look like a Flemish aboriginal.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Leiden, 21 January 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;I think it\u0026rsquo;s the next day.\u003cbr /\u003eI\u0026rsquo;m very alert and lucid,\u003cbr /\u003eprobably from not sleeping.\u003cbr /\u003eI note every sensation in my body.\u003cbr /\u003eMy body is like a laboratory\u003cbr /\u003eon overtime\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI think it\u0026rsquo;s evening.\u003cbr /\u003eI\u0026rsquo;ve started drawing a big Dali moustache\u003cbr /\u003eon the white walls.\u003cbr /\u003eMy skull is overheated\u003cbr /\u003eand sometimes I cry for no reason.\u003cbr /\u003eI\u0026rsquo;m drawing constantly\u003cbr /\u003e(it doesn\u0026rsquo;t matter what I draw, as long as I\u0026rsquo;m drawing I\u0026rsquo;m alive).\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI think it\u0026rsquo;s night.\u003cbr /\u003eI\u0026rsquo;m drawing a big Ilad moustache\u003cbr /\u003eon the wall opposite my bed.\u003cbr /\u003eI\u0026rsquo;m drawing rugs on the floor under all the\u003cbr /\u003efurniture.\u003cbr /\u003eIt\u0026rsquo;s as if I were an Indian\u003cbr /\u003e(one with no wigwam or tribe).\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Leiden, 22 January 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;I\u0026rsquo;ve lost all sense of time.\u003cbr /\u003eI masturbate, I eat, I shit and I draw.\u003cbr /\u003eThere is no mirror, but my face is covered\u003cbr /\u003ein patches of blue Bic ink\u003cbr /\u003ebecause my hands are completely blue\u003cbr /\u003e(an Indian preparation for war).\u003cbr /\u003eI\u0026rsquo;ve become a drawing machine.\u003cbr /\u003eMy heart beats in my temples.\u003cbr /\u003eMy fingers are tingling and my muscles are tensing.\u003cbr /\u003eBut I\u0026rsquo;m on a lucid trip.\u003cbr /\u003eI\u0026rsquo;m gone.\u003cbr /\u003eSometimes I disappear and come back and I\u0026rsquo;ve done a drawing\u003cbr /\u003ethat astonishes me.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI talk to myself out loud,\u003cbr /\u003eI scream at the living\u003cbr /\u003eand whisper to the dead.\u003cbr /\u003eI don\u0026rsquo;t have any music,\u003cbr /\u003ebut I still dance a lot while I\u0026rsquo;m drawing.\u003cbr /\u003eMy skull is burning\u003cbr /\u003eand my mouth is constantly dry.\u003cbr /\u003eI\u0026rsquo;ve made my tongue blue with Bic ink\u003cbr /\u003e(I wanted to change from a street dog into a pedigree dog).\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI wake up with a start,\u003cbr /\u003eI\u0026rsquo;ve been asleep,\u003cbr /\u003eno idea how long.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI carry on drawing.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eI want the white room to be full of blue drawings.\u003cbr /\u003eI also draw various butterflies and insects in every little corner.\u003cbr /\u003eArtificiality know no bounds\u003cbr /\u003eand the imagination is hot and burning\u003cbr /\u003elike my body.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Leiden, 23 January 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;It\u0026rsquo;s one o\u0026rsquo;clock in the night.\u003cbr /\u003eToday was the opening of the Bic Art Room,\u003cbr /\u003efrom 11 a.m. to 6 p.m.\u003cbr /\u003eThere were lots of people.\u003cbr /\u003eI was physically present, but mentally totally absent.\u003cbr /\u003eI still haven\u0026rsquo;t fully realised what I\u0026rsquo;ve created.\u003cbr /\u003eI need to stand back.\u003cbr /\u003eI\u0026rsquo;m too tired.\u003cbr /\u003e(Perhaps to me art is a matter of the physical\u003cbr /\u003eexperience. To be understood mentally afterwards.\u003cbr /\u003eWill these words become the intellectual alibi\u003cbr /\u003eor the artistic discours?)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Leiden, 25 January 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;I don\u0026rsquo;t feel the difference between a Wednesday\u003cbr /\u003eand a Sunday.\u003cbr /\u003eAll that exists are the dates when the projects start\u003cbr /\u003eand finish.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Leiden, 26 January 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12712,"title":"I am the shame pole","dimensions":"00:32:00","date_begin":"2010-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"","cached_tag_list":"Pole, Shame, 89, Jan, Fabre, performance","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":32,"permalink":"i-am-the-shame-pole","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/000/027/271/large/2010_I_AM_THE_SHAME_POLE_212.jpg?1425990366","poster_credits":"(c)Angelos bvba, Collection M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e28.10.2010\u003cbr /\u003eTokyo, MOT Museum of Contemporary Art Tokyo\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eFor his first performance in Japan in the eighties Jan Fabre had been pelted with tomatoes. In 2010 he invites the audience to throw tomatoes while he recites all the titles of the exhibitions, performances and theatre productions he presented in Japan.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Today I arranged the room in the museum\u003cbr /\u003ewhere tomorrow\u003cbr /\u003eI shall be doing the performance I am the shame pole.\u003cbr /\u003eAs a backdrop, from wall-to-wall, I\u0026#39;m using an\u003cbr /\u003eenlargement of a twenty-year-old photo\u003cbr /\u003eshowing the head curator Yuko Hasegawa,\u003cbr /\u003edressed in traditional kimono,\u003cbr /\u003eand myself in a three-piece suit, both in the kendo\u003cbr /\u003esitting position.\u003cbr /\u003eThe floor is covered with a grey dance mat with a\u003cbr /\u003epile of typical Belgian cobblestones\u003cbr /\u003ein the middle.\u003cbr /\u003eI will stand on top of them dressed in\u003cbr /\u003ea grey suit by Martin Margiela.\u003cbr /\u003eA white cord will be stretched in front of me from\u003cbr /\u003ewall to wall. From the other side of this cord\u003cbr /\u003ethe Japanese public are permitted to pelt me\u003cbr /\u003ewith 5000 overripe tomatoes.\u003cbr /\u003e(And if they don\u0026#39;t want to throw them at me,\u003cbr /\u003ethey can throw the at the photo of my Japanese\u003cbr /\u003eJoan of Arc, Yuko Hasegawa.)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Tokyo, 28 October 2010)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;I have withdrawn into my modern Japanese shrine.\u003cbr /\u003eFor three hours -in the restaurant, in the hospital and now\u003cbr /\u003ein this superb hotel room -I have spent my time with a plastic\u003cbr /\u003ebag full of ice cubes on my private parts.\u003cbr /\u003eMy dearly beloved balls are still swollen and very painful.\u003cbr /\u003eThe Japanese public (I had specifically only invited artists,\u003cbr /\u003ecurators, actors, dancers, directors and choreographers)\u003cbr /\u003ewas not at all modest, retiring and exaggerated in their\u003cbr /\u003epoliteness.\u003cbr /\u003eThey were extremely enthusiastic during my performance\u003cbr /\u003eof\u0026nbsp;I am the shame pole.\u003cbr /\u003eBut I had bad luck:\u003cbr /\u003ethe Museum staff had not bought 5000 overripe tomatoes.\u003cbr /\u003eIn spite of the fact that \u0026#39;overripe\u0026#39; was an important word\u003cbr /\u003e(lost in translation)\u003cbr /\u003ebecause an overripe tomato is soft and immediately bursts.\u003cbr /\u003eInstead of that the 5000 tomatoes felt like stones.\u003cbr /\u003eI managed to hold out to the bitter end purely by concentrating\u003cbr /\u003eon my lines (a list of dates, places and titles of performances\u003cbr /\u003ethat I had put on in Japan).\u003cbr /\u003eUntil the excessively giggling and extremely enthusiastic\u003cbr /\u003eJapanese art public pelted me with the final tomatoes.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eAt the moment I feel miserable, but I\u0026#39;m very happy to have\u003cbr /\u003econtinued a tradition.\u003cbr /\u003e(The first time I did a performance in Tokyo, in 1984, I was\u003cbr /\u003epelted with tomatoes very politely.)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre,Tokyo, 29 October 2010)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e28.10.2010\u003cbr /\u003eTokyo, MOT Museum of Contemporary Art Tokyo\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eTijdens zijn eerste performance in Japan in de jaren \u0026lsquo;80 kreeg Jan Fabre tomaten naar zijn hoofd geslingerd. In 2010 nodigt hij het publiek uit tomaten te gooien terwijl hij al de tentoonstellingen, performances en theaterproducties die hij in Japan heeft gedaan voorleest.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Today I arranged the room in the museum\u003cbr /\u003ewhere tomorrow\u003cbr /\u003eI shall be doing the performance I am the shame pole.\u003cbr /\u003eAs a backdrop, from wall-to-wall, I\u0026#39;m using an\u003cbr /\u003eenlargement of a twenty-year-old photo\u003cbr /\u003eshowing the head curator Yuko Hasegawa,\u003cbr /\u003edressed in traditional kimono,\u003cbr /\u003eand myself in a three-piece suit, both in the kendo\u003cbr /\u003esitting position.\u003cbr /\u003eThe floor is covered with a grey dance mat with a\u003cbr /\u003epile of typical Belgian cobblestones\u003cbr /\u003ein the middle.\u003cbr /\u003eI will stand on top of them dressed in\u003cbr /\u003ea grey suit by Martin Margiela.\u003cbr /\u003eA white cord will be stretched in front of me from\u003cbr /\u003ewall to wall. From the other side of this cord\u003cbr /\u003ethe Japanese public are permitted to pelt me\u003cbr /\u003ewith 5000 overripe tomatoes.\u003cbr /\u003e(And if they don\u0026#39;t want to throw them at me,\u003cbr /\u003ethey can throw the at the photo of my Japanese\u003cbr /\u003eJoan of Arc, Yuko Hasegawa.)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Tokyo, 28 October 2010)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;I have withdrawn into my modern Japanese shrine.\u003cbr /\u003eFor three hours -in the restaurant, in the hospital and now\u003cbr /\u003ein this superb hotel room -I have spent my time with a plastic\u003cbr /\u003ebag full of ice cubes on my private parts.\u003cbr /\u003eMy dearly beloved balls are still swollen and very painful.\u003cbr /\u003eThe Japanese public (I had specifically only invited artists,\u003cbr /\u003ecurators, actors, dancers, directors and choreographers)\u003cbr /\u003ewas not at all modest, retiring and exaggerated in their\u003cbr /\u003epoliteness.\u003cbr /\u003eThey were extremely enthusiastic during my performance\u003cbr /\u003eof\u0026nbsp;I am the shame pole.\u003cbr /\u003eBut I had bad luck:\u003cbr /\u003ethe Museum staff had not bought 5000 overripe tomatoes.\u003cbr /\u003eIn spite of the fact that \u0026#39;overripe\u0026#39; was an important word\u003cbr /\u003e(lost in translation)\u003cbr /\u003ebecause an overripe tomato is soft and immediately bursts.\u003cbr /\u003eInstead of that the 5000 tomatoes felt like stones.\u003cbr /\u003eI managed to hold out to the bitter end purely by concentrating\u003cbr /\u003eon my lines (a list of dates, places and titles of performances\u003cbr /\u003ethat I had put on in Japan).\u003cbr /\u003eUntil the excessively giggling and extremely enthusiastic\u003cbr /\u003eJapanese art public pelted me with the final tomatoes.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eAt the moment I feel miserable, but I\u0026#39;m very happy to have\u003cbr /\u003econtinued a tradition.\u003cbr /\u003e(The first time I did a performance in Tokyo, in 1984, I was\u003cbr /\u003epelted with tomatoes very politely.)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre,Tokyo, 29 October 2010)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003e28.10.2010\u003cbr /\u003eTokyo, MOT Museum of Contemporary Art Tokyo\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Today I arranged the room in the museum\u003cbr /\u003ewhere tomorrow\u003cbr /\u003eI shall be doing the performance I am the shame pole.\u003cbr /\u003eAs a backdrop, from wall-to-wall, I\u0026#39;m using an\u003cbr /\u003eenlargement of a twenty-year-old photo\u003cbr /\u003eshowing the head curator Yuko Hasegawa,\u003cbr /\u003edressed in traditional kimono,\u003cbr /\u003eand myself in a three-piece suit, both in the kendo\u003cbr /\u003esitting position.\u003cbr /\u003eThe floor is covered with a grey dance mat with a\u003cbr /\u003epile of typical Belgian cobblestones\u003cbr /\u003ein the middle.\u003cbr /\u003eI will stand on top of them dressed in\u003cbr /\u003ea grey suit by Martin Margiela.\u003cbr /\u003eA white cord will be stretched in front of me from\u003cbr /\u003ewall to wall. From the other side of this cord\u003cbr /\u003ethe Japanese public are permitted to pelt me\u003cbr /\u003ewith 5000 overripe tomatoes.\u003cbr /\u003e(And if they don\u0026#39;t want to throw them at me,\u003cbr /\u003ethey can throw the at the photo of my Japanese\u003cbr /\u003eJoan of Arc, Yuko Hasegawa.)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Tokyo, 28 October 2010)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;I have withdrawn into my modern Japanese shrine.\u003cbr /\u003eFor three hours -in the restaurant, in the hospital and now\u003cbr /\u003ein this superb hotel room -I have spent my time with a plastic\u003cbr /\u003ebag full of ice cubes on my private parts.\u003cbr /\u003eMy dearly beloved balls are still swollen and very painful.\u003cbr /\u003eThe Japanese public (I had specifically only invited artists,\u003cbr /\u003ecurators, actors, dancers, directors and choreographers)\u003cbr /\u003ewas not at all modest, retiring and exaggerated in their\u003cbr /\u003epoliteness.\u003cbr /\u003eThey were extremely enthusiastic during my performance\u003cbr /\u003eof\u0026nbsp;I am the shame pole.\u003cbr /\u003eBut I had bad luck:\u003cbr /\u003ethe Museum staff had not bought 5000 overripe tomatoes.\u003cbr /\u003eIn spite of the fact that \u0026#39;overripe\u0026#39; was an important word\u003cbr /\u003e(lost in translation)\u003cbr /\u003ebecause an overripe tomato is soft and immediately bursts.\u003cbr /\u003eInstead of that the 5000 tomatoes felt like stones.\u003cbr /\u003eI managed to hold out to the bitter end purely by concentrating\u003cbr /\u003eon my lines (a list of dates, places and titles of performances\u003cbr /\u003ethat I had put on in Japan).\u003cbr /\u003eUntil the excessively giggling and extremely enthusiastic\u003cbr /\u003eJapanese art public pelted me with the final tomatoes.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eAt the moment I feel miserable, but I\u0026#39;m very happy to have\u003cbr /\u003econtinued a tradition.\u003cbr /\u003e(The first time I did a performance in Tokyo, in 1984, I was\u003cbr /\u003epelted with tomatoes very politely.)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre,Tokyo, 29 October 2010)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]},{"id":12660,"title":"The Man Measuring the Clouds (Model for the roof of deSingel and the S.M.A.K.) ","dimensions":"25 x 20.5 x 20 com ","date_begin":"1998-01-01","material":"wood, textile, wax, stone, clay and cement","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":154,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Freddy Huyghe, Houtem-Veurne, Belgium","cached_tag_list":"model, maquette, 77, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"the-man-measuring-the-clouds-model-for-the-roof-of-desingel-and-the-s-m-a-k","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/000/027/165/large/KIJKDENKMOD040.jpg?1425654310","poster_credits":"(c)Angelos bvba, photo: Pat Verbruggen","translations":[{"locale":"en","description":"\u003cp\u003eThinking model\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDenkmodel\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12717,"title":"Do we feel with our brain and think with our heart?","dimensions":"34,5 x 29 x 24 cm","date_begin":"2012-01-01","material":"Silicone, paint, fabric, hair, polymer","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 Angelos bvba","cached_tag_list":"Rizzolatti, Giacomo, Heart, 90, Brain, Jan, Fabre, thinking model, performance","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"do-we-feel-with-our-brain-and-think-with-our-heart--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":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/278/large/DO_WE_FEEL_THINKING_MODEL_LH_001.jpg?1425993515","poster_credits":"(c)Angelos bvba, photo: Lieven Herreman","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12658,"title":"Action: The Man Measuring the Clouds","dimensions":"various","date_begin":"1997-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"77, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":"2000-01-01","reference":"","stream_count_app":23,"permalink":"action-the-man-measuring-the-clouds","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/000/027/160/large/0257.jpg?1425653765","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eDifferent locations\u003cbr /\u003eDuration: various\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn homage to his dead twin brother Emile Fabre, the artist attempts to measure the immeasurable: the clouds. This action, which led to the famous bronze sculpture, is based on a quote from the prisoner and ornithologist Robert Stroud after his release:\u003cem\u003e \u0026lsquo;I\u0026rsquo;m going to measure the clouds\u0026rsquo;.\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;I\u0026#39;m in a poetic hell!\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eToday I installed a new work in a window display\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ebox in Offerandestraat (the only-free pedestrian\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eshopping street in Antwerp, masses of pf people pass\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ealong it).\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eI modelled a little man measuring the clouds, in clay.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eAnd above him hang clouds of expanded\u003c/em\u003e\u003cbr /\u003e\u003cem\u003epolystyrene.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eI painted it all light grey-blue.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eIt is an offering, a tribute,\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eto my dead brother, Emile Fabre\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 3 December 1978)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eDiverse locaties\u003cbr /\u003eDiverse tijdspannes\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAls hommage aan zijn dode tweelingbroer, Emile Fabre, probeert de kunstenaar het onmetelijke te meten, de wolken. De actie, en later bronzen sculptuur, is gebaseerd op de uitspraak van de gevangene en ornitholoog Robert Stroud bij zijn vrijlating:\u003cem\u003e \u0026ldquo;I\u0026rsquo;m going to measure the clouds\u0026rdquo;.\u003c/em\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;I\u0026#39;m in a poetic hell!\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eToday I installed a new work in a window display\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ebox in Offerandestraat (the only-free pedestrian\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eshopping street in Antwerp, masses of pf people pass\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ealong it).\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eI modelled a little man measuring the clouds, in clay.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eAnd above him hang clouds of expanded\u003c/em\u003e\u003cbr /\u003e\u003cem\u003epolystyrene.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eI painted it all light grey-blue.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eIt is an offering, a tribute,\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eto my dead brother, Emile Fabre\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Antwerp, 3 December 1978)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12698,"title":"Virgin / Warrior","dimensions":"05:00:00","date_begin":"2004-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"","cached_tag_list":"Warrior, Abramović, Marina, 85, Jan, Fabre, virgin","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":32,"permalink":"virgin-warrior--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/198/large/fabre_au004195.jpg?1425917046","poster_credits":"(c)Angelos bvba, photo: Attilio Maranzano","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e14.12.2004\u003cbr /\u003eParis, Palais de Tokyo\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eRespect for the art and love for the beauty are the motivations behind this collaboration. In this performance, in the Palais de Tokyo in Paris, Jan Fabre and Marina Abromović attempt to find the virgin/warriors in history who fought for the beauty.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;During the day: performed the ritual of preparation\u003cbr /\u003ewith Marina\u0026nbsp;Abramović the Palais de Tokyo.\u003cbr /\u003eIn the evening: in the hotel bar,\u003cbr /\u003edrank each other\u0026#39;s energy and fed each other\u003cbr /\u003ewith ideas and actions.\u003cbr /\u003eDuring the night: in the hotel room,\u003cbr /\u003ean unspoken mutual awareness that we trust\u003cbr /\u003eeach other.\u003cbr /\u003eThe ritual we have designed together will not\u003cbr /\u003edetract from our independence\u003cbr /\u003efrom our individuality and from our wilfulness.\u003cbr /\u003eWe both possess the irrepressible desire\u003cbr /\u003eto arrive at insight through experience.\u003cbr /\u003eThe \u0026#39;Virgin / Warrior\u0026#39; performance\u003cbr /\u003eis inteded to be a poem.\u003cbr /\u003eThe art will take shape between the lines.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Paris, 13 December 2004)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;We were two brave armoured knight-insects\u003cbr /\u003ewho embodied the durability of futility.\u003cbr /\u003eThere was thought behind all actions.\u003cbr /\u003eEverything we did was authentic\u003cbr /\u003ebecause we thought it up.\u003cbr /\u003eIt was a five-hour-long declaration of love\u003cbr /\u003eto the art of performance.\u003cbr /\u003eThousands of eyes around our cage were witnesses\u003cbr /\u003eto it.\u003cbr /\u003e(I could not have imagined a finer birthday.)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Paris, 14 December 2004)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e14.12.2004\u003cbr /\u003eParis, Palais de Tokyo\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eUit respect voor de kunst, uit liefde voor de schoonheid werd deze samenwerking opgestart. Jan Fabre en Marina Abromović gaan in deze performance op zoek naar de maagd/krijgers in de geschiedenis die gevochten hebben voor de schoonheid.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;During the day: performed the ritual of preparation\u003cbr /\u003ewith Marina\u0026nbsp;Abramović the Palais de Tokyo.\u003cbr /\u003eIn the evening: in the hotel bar,\u003cbr /\u003edrank each other\u0026#39;s energy and fed each other\u003cbr /\u003ewith ideas and actions.\u003cbr /\u003eDuring the night: in the hotel room,\u003cbr /\u003ean unspoken mutual awareness that we trust\u003cbr /\u003eeach other.\u003cbr /\u003eThe ritual we have designed together will not\u003cbr /\u003edetract from our independence\u003cbr /\u003efrom our individuality and from our wilfulness.\u003cbr /\u003eWe both possess the irrepressible desire\u003cbr /\u003eto arrive at insight through experience.\u003cbr /\u003eThe \u0026#39;Virgin / Warrior\u0026#39; performance\u003cbr /\u003eis inteded to be a poem.\u003cbr /\u003eThe art will take shape between the lines.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Paris, 13 December 2004)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;We were two brave armoured knight-insects\u003cbr /\u003ewho embodied the durability of futility.\u003cbr /\u003eThere was thought behind all actions.\u003cbr /\u003eEverything we did was authentic\u003cbr /\u003ebecause we thought it up.\u003cbr /\u003eIt was a five-hour-long declaration of love\u003cbr /\u003eto the art of performance.\u003cbr /\u003eThousands of eyes around our cage were witnesses\u003cbr /\u003eto it.\u003cbr /\u003e(I could not have imagined a finer birthday.)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Paris, 14 December 2004)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12707,"title":"Art kept me out of jail (Homage to Jacques Mesrine)","dimensions":"60 x 40 cm","date_begin":"2008-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Collection ESSL, Vienna","cached_tag_list":"Mesrine, Jacques, 87, Homage, Jan, Fabre, print, performance","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":31,"permalink":"art-kept-me-out-of-jail-homage-to-jacques-mesrine--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":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/214/large/c_1F9I1403.jpg?1425980022","poster_credits":"(c)Angelos bvba, Collection ESSL, Vienna, Photo: Attilio Maranzano","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12706,"title":"Art kept me out of jail (Homage to Jacques Mesrine)","dimensions":"04:00:00","date_begin":"2008-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"Mesrine, Jacques, 87, Homage, Jan, Fabre, performance","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":26,"permalink":"art-kept-me-out-of-jail-homage-to-jacques-mesrine","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/000/027/213/large/MARAN_04_1F9I1295.jpg?1425978883","poster_credits":"(c)Angelos bvba, photo: Attilio Maranzano","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e22.4.2008\u003cbr /\u003eParis, Mus\u0026eacute;e du Louvre, Galerie Daru \u0026amp; Cour Napol\u0026eacute;on\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn this performance, running for four hours Fabre transforms himself in the diverse disguises of Jacques Mesrine, French enemy of the state number one. He tries to escape from the institute Louvre, where a big Fabre exhibition is running. He quotes the gangster and will eventually die, like Mesrine, in a hail of bullets.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Two o\u0026#39;clock in the morning.\u003cbr /\u003eAlone in my hotel room again.\u003cbr /\u003eI need that.\u003cbr /\u003eSometimes I give too much to the outside world.\u003cbr /\u003eI\u0026#39;m physically shattered.\u003cbr /\u003eMy brain is aflame and inside my skull it\u0026#39;s\u003cbr /\u003emuch too warm.\u003cbr /\u003eIt was a hellish but exciting five-hour journey.\u003cbr /\u003eMy performance \u0026#39;Homage to Jacques Mesrine\u0026#39;\u003cbr /\u003ein the 70m-long Galerie Daru in the Louvre.\u003cbr /\u003eBut what a kick (my whole body was quivering)\u003cbr /\u003eto be riddled with bullets at the end of the\u003cbr /\u003eperformance (the same number of bullets\u003cbr /\u003ewith which Jacques Mesrine was murdered\u003cbr /\u003eby the French police in the centre of Paris)\u003cbr /\u003eat the feet of the goddess Nike.\u003cbr /\u003e(And yet I escaped and got out alive from the finest\u003cbr /\u003eand best secured prison in France, the Louvre.)\u003cbr /\u003eTomorrow I can go home.\u003cbr /\u003eTo my free zone, Antwerp.\u003cbr /\u003eAnd sleep, that will be for tomorrow.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Paris, 22 April 2008)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e22.4.2008\u003cbr /\u003eParis, Mus\u0026eacute;e du Louvre, Galerie Daru \u0026amp; Cour Napol\u0026eacute;on\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn deze vier uur durende performance transformeert Fabre in de verschillende gedaantes van Jacques Mesrine om uit het Louvre te ontsnappen. Hij citeert de Franse gangster en zal uiteindelijk net als Mesrine door een spervuur om het einde komen.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Two o\u0026#39;clock in the morning.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eAlone in my hotel room again.\u003cbr /\u003eI need that.\u003cbr /\u003eSometimes I give too much to the outside world.\u003cbr /\u003eI\u0026#39;m physically shattered.\u003cbr /\u003eMy brain is aflame and inside my skull it\u0026#39;s\u003cbr /\u003emuch too warm.\u003cbr /\u003eIt was a hellish but exciting five-hour journey.\u003cbr /\u003eMy performance \u0026#39;Homage to Jacques Mesrine\u0026#39;\u003cbr /\u003ein the 70m-long Galerie Daru in the Louvre.\u003cbr /\u003eBut what a kick (my whole body was quivering)\u003cbr /\u003eto be riddled with bullets at the end of the\u003cbr /\u003eperformance (the same number of bullets\u003cbr /\u003ewith which Jacques Mesrine was murdered\u003cbr /\u003eby the French police in the centre of Paris)\u003cbr /\u003eat the feet of the goddess Nike.\u003cbr /\u003e(And yet I escaped and got out alive from the finest\u003cbr /\u003eand best secured prison in France, the Louvre.)\u003cbr /\u003eTomorrow I can go home.\u003cbr /\u003eTo my free zone, Antwerp.\u003cbr /\u003eAnd sleep, that will be for tomorrow.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Paris, 22 April 2008)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12632,"title":"Ich bin ein Skelettman","dimensions":"00:20:00","date_begin":"1988-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"68, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"ich-bin-ein-skelettman","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/000/027/614/large/1988_SKELETTMANN_INVITE.jpg?1426256776","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e30.10.1988\u003cbr /\u003eBremen, Gesellschaft f\u0026uuml;r Aktuelle Kunst\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eIn reaction to his skinny appearance as a young boy, Jan Fabre gets a suit tailored from meat. In the re-enactment the skeleton man enters into a dialogue with the fleshy characters in the work of Pieter Paul Rubens.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e30.10.1988\u003cbr /\u003e​Bremen, Gesellschaft f\u0026uuml;r Aktuelle Kunst\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eAls reactie op zijn mager uiterlijk als jonge knaap, laat Jan Fabre zich hier een pak aanmeten van vlees. In de re-enactment gaat de Skeletman de dialoog aan met de vlezige werken van Pieter Paul Rubens.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12544,"title":"Ilad of the Bic Art","dimensions":"20:00:00","date_begin":"1980-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"38 Jan Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":29,"permalink":"ilad-of-the-bic-art--2","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/466/large/still.jpg?1426166787","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e4.6.1980\u003cbr /\u003e\r\n​Amsterdam, De Appel\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eIn this performance Fabre, in the guise of Ilad (Dali reversed), confronts the history of art. He scratches torn-out art reproductions with Bic and pins these to the wall. He then poses in front of a blank sheet of paper between these artworks.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e4.6.1980\u003cbr /\u003e\r\n​Amsterdam, De Appel\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eIn deze performance gaat Fabre als Ilad (omgekeerde van Dali) de confrontatie met de kunstgeschiedenis aan. Hij bewerkt uitgescheurde kunstreproductie, pint deze vast op de muur en plaats zichzelf voor een opgehangen blad papier dat tussen deze werken hangt.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":12659,"title":"The Man Measuring the Clouds","dimensions":"29.5 x 21 cm","date_begin":"1998-01-01","material":"HB pencil on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Private Collection","cached_tag_list":"77, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"the-man-measuring-the-clouds","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/000/027/161/large/1998_DE_MAN_DIE_DE_WOLKEN_MEET_004.jpg?1425654146","poster_credits":"(c)Angelos bvba, Private collection","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12668,"title":"Dung Beetle with Frog's Legs","dimensions":"22 x 80 x 60.5 cm","date_begin":"1993-01-01","material":"Soil, Wood, dung beetle and frog's legs","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Angelos bvba","cached_tag_list":"79, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"dung-beetle-with-frog-s-legs","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/000/027/149/large/KIJKDENKMOD286.jpg?1425652709","poster_credits":"(c)Angelos bvba, photo: Pat Verbruggen","translations":[{"locale":"en","description":"\u003cp\u003eThinking Model.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDenkmodel.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12666,"title":"The Problem (Homage to Dietmar Kamper)","dimensions":"00:30:00","date_begin":"2001-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA","cached_tag_list":"79, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":25,"permalink":"the-problem-homage-to-dietmar-kamper","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/000/027/643/large/still_3.JPG?1426507482","poster_credits":"(c)Angelos bvba, Collection M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eHessen, Otzberg\u003cbr /\u003e2001\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eJan Fabre makes this film in collaboration with the German philosophers Dietmar Kamper and Peter Sloterdijk. Like dung beetles the three gentlemen roll a ball through a romantic scenery while philosophising over the problem.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u0026#39;\u003cstrong\u003eThese are days of wind and ignorance.\u003c/strong\u003e\u003c/em\u003e\u003cbr /\u003e\u003cstrong\u003e\u003cem\u003eFor me an evening of inexhaustible joy.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe German philosophers Peter Sloterdijk\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand Dietmar Kamper\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand I, dressed in dinner jackets, were godlike\u003c/em\u003e\u003cbr /\u003e\u003cem\u003edung beetles\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ein a Caspar David Friedrich landscape\u003c/em\u003e\u003cbr /\u003e\u003cem\u003erolling each other\u0026#39;s problems towards each other\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand gladly making\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eeach other\u0026#39;s porblem bigger.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003e(Day of shooting film sequences for the\u003cbr /\u003eperformance \u0026#39;The Problem\u0026#39;.)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Otzberg, 8 October 2001)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The performance I have done in the last few days\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eis for you, Dietmar Kamper.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eFriend, I know you are going to die.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe cancer is devouring you from the inside.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eI shall not exchange the rain for tears.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eI shall let the wind cry in my place.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eWhere a man has to fail\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eyou my friend will be the end.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eA little dust and ashes\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ea landscape of dry fields.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eWhere you will\u003c/em\u003e\u003cbr /\u003e\u003cem\u003econtinue rolling\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eyour globe of the world\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eyour dung-beetle globe\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eyour problem\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eyou will become\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ean edible planet full of knowledge\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ethat will never fade.\u0026#39;\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Otzberg, 10 October 2001)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eHessen, Otzberg\u003cbr /\u003e2001\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eJan Fabre maakte deze film samen met de Duitse filosofen Dietmar Kamper en Peter Sloterdijk. In dit romantisch landschap duwden de drie heren een bal vooruit als mestkevers en filosofeerden over het probleem.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cem\u003e\u0026#39;\u003cstrong\u003eThese are days of wind and ignorance.\u003c/strong\u003e\u003c/em\u003e\u003cbr /\u003e\u003cstrong\u003e\u003cem\u003eFor me an evening of inexhaustible joy.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe German philosophers Peter Sloterdijk\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand Dietmar Kamper\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand I, dressed in dinner jackets, were godlike\u003c/em\u003e\u003cbr /\u003e\u003cem\u003edung beetles\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ein a Caspar David Friedrich landscape\u003c/em\u003e\u003cbr /\u003e\u003cem\u003erolling each other\u0026#39;s problems towards each other\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand gladly making\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eeach other\u0026#39;s porblem bigger.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003e(Day of shooting film sequences for the\u003cbr /\u003eperformance \u0026#39;The Problem\u0026#39;.)\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Otzberg, 8 October 2001)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The performance I have done in the last few days\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eis for you, Dietmar Kamper.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eFriend, I know you are going to die.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe cancer is devouring you from the inside.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eI shall not exchange the rain for tears.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eI shall let the wind cry in my place.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eWhere a man has to fail\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eyou my friend will be the end.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eA little dust and ashes\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ea landscape of dry fields.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eWhere you will\u003c/em\u003e\u003cbr /\u003e\u003cem\u003econtinue rolling\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eyour globe of the world\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eyour dung-beetle globe\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eyour problem\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eyou will become\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ean edible planet full of knowledge\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ethat will never fade.\u0026#39;\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Otzberg, 10 October 2001)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12643,"title":"A Gambling battle between a curator and an artist ","dimensions":"03:00:00","date_begin":"1991-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"71, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":26,"permalink":"a-gambling-battle-between-a-curator-and-an-artist","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/000/027/621/large/1991_A_GAMBLING_BATTLE_001.jpg?1426259059","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003eJan Fabre \u0026amp; Jan Hoet\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e24.5.1991.\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eTokyo, Patchinko Hall\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;In the early evening flirted with the Japanese\u003cbr /\u003eLady Luck again, what a woman!\u003cbr /\u003ePlayed Patchenko for hours together with Jan,\u003cbr /\u003eand again he couldn\u0026#39;t stop either.\u003cbr /\u003eIt\u0026#39;s a hallucinatory sensation, the sound of hundreds\u003cbr /\u003eof thousands of small silver-coloured balls hitting\u003cbr /\u003eeach other from different directions at high speed.\u003cbr /\u003eI Have always liked gambling.\u003cbr /\u003eThe higher the stakes, the bigger the kick.\u003cbr /\u003eI like the sublime moment of the power decision.\u003cbr /\u003eI Gamble to win, but not for the winnings.\u003cbr /\u003eThe game itself is much more fascinating,\u003cbr /\u003eeven when one loses. The essential thing\u003cbr /\u003eis the tension. And the effect it has on me.\u003cbr /\u003eWhen I left I had the feeling my organs were\u003cbr /\u003efloating around inside my body.\u0026#39;\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Tokyo, 24 May 1991)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eJan Fabre \u0026amp; Jan Hoet\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e24.5.1991.\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eTokyo, Patchinko Hall\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;In the early evening flirted with the Japanese\u003cbr /\u003eLady Luck again, what a woman!\u003cbr /\u003ePlayed Patchenko for hours together with Jan,\u003cbr /\u003eand again he couldn\u0026#39;t stop either.\u003cbr /\u003eIt\u0026#39;s a hallucinatory sensation, the sound of hundreds\u003cbr /\u003eof thousands of small silver-coloured balls hitting\u003cbr /\u003eeach other from different directions at high speed.\u003cbr /\u003eI Have always liked gambling.\u003cbr /\u003eThe higher the stakes, the bigger the kick.\u003cbr /\u003eI like the sublime moment of the power decision.\u003cbr /\u003eI Gamble to win, but not for the winnings.\u003cbr /\u003eThe game itself is much more fascinating,\u003cbr /\u003eeven when one loses. The essential thing\u003cbr /\u003eis the tension. And the effect it has on me.\u003cbr /\u003eWhen I left I had the feeling my organs were\u003cbr /\u003efloating around inside my body.\u0026#39;\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Tokyo, 24 May 1991)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12493,"title":"Burried (Hommage to Pieter Engels)","dimensions":"00:30:00","date_begin":"1979-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Jan Fabre","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":22,"permalink":"burried-hommage-to-pieter-engels--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/380/large/1979_GALERIJ_WORKSHOP_POSTER_LH_001.jpg?1426074511","poster_credits":"(c)Angelos bvba, Collection M HKA, photo: Lieven Herreman","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e19.10.1979\u003cbr /\u003e​Antwerp, Gallery Workshop 77\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eThe invitation to the exhibition states that the guests have to bring an object of personal importance. During the opening the artist collects these objects in preserving jars. At the evening\u0026rsquo;s end he buries the jars in front of the gallery.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e19.10.1979\u003cbr /\u003e​Antwerpen, Gallery Workshop 77\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eOp de uitnodiging van de tentoonstelling stond dat de genodigde een object moesten meenemen dat voor hen belangrijk was. Tijdens de opening verzamelde kunstenaar deze in weckpotten. Op het einde van de avond begroef hij de potten voor de galerie.\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12724,"title":"Owl","dimensions":"42 x 16 x 17 cm","date_begin":"1987-01-01","material":"Bic ink, glass","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 Renilde Hammacher, Brussels","cached_tag_list":"Owl, Uil, Jan, Fabre, 67, performance","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"owl","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/000/027/600/large/uil.jpg?1426254657","poster_credits":"(c)Angelos bvba, Collection Renilde Hammacher, Brussels","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12646,"title":"A masterpiece on vertical piano (Homage to Walter Marchetti)","dimensions":"00:30:00","date_begin":"1996-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"","cached_tag_list":"74 Ilya Kabakov actie Jan Fabre action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":43,"permalink":"a-masterpiece-on-vertical-piano-homage-to-walter-marchetti","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/630/large/1996_VERTICAL_PIANO_004.jpg?1426260845","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eJan Fabre \u0026amp; Ilya Kabakov\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e8.5.1996\u003cbr /\u003e\r\nAntwerp\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eThe organically formed friendship between two artists is sealed with this shared performance in Antwerp. With a music score written by Jan Fabre, the Russian artist Ilya Kabakov improvises as a tribute to the Fluxus artist Walter Marchetti.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eJan Fabre \u0026amp; Ilya Kabakov\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e8.5.1996\u003cbr /\u003e\r\n​Antwerpen\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eEen organisch gegroeide vriendschap tussen de twee kunstenaars werd bezegeld met een gedeelde performance in Antwerpen. Op een door Fabre geschreven partituur improviseert Kabakov als hommage aan de Fluxuskunstenaar Walter Marchetti.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":12652,"title":"A Meeting / Vstrecha","dimensions":"00:35:00","date_begin":"1997-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"76, Ilya Kabakov, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":37,"permalink":"a-meeting-vstrecha","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/000/027/639/large/1997_VSTRECHA_001.jpg?1426497045","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e1997\u003cbr /\u003eNew York, roof \u0026amp; basement of Ilya Kabakov\u003c/strong\u003e\u003cbr /\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eIn the film made in Ilya Kabakov\u0026rsquo;s home in New York the two artists share the secret of art, as a fly and a beetle. They discuss, each in their own language, the different dimensions of being an artist in their own countries.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Tonight was the world premier of the performance film\u003c/em\u003e\u003cbr /\u003e\u003cem\u003e\u0026#39;A Meeting / Vstrecha\u0026#39; that I made together with Ilya Kabakov.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eIt was a splendid language mix-up for a sell-out\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eTokyo National Opera House.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eAn Act of Flemish-Russian poetic resistance\u003c/em\u003e\u003cbr /\u003e\u003cem\u003e(we had both refused to speak English).\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe public debate after the screening turned into a language\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eperformance by a Russian fly and a Flemish scarab.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe Japanese audience were given simultaneouss translations\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand I think they believed that I understood Russian\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand Ilya Flemish.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003e(We had applied the same principle to the film,\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ejust a matter of writing out a scenario).\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe looks of wonder.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe faces full of admiration.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe \u0026#39;oooshs\u0026#39; of credence and the \u0026#39;ai-es\u0026#39; (yesses) of incredulity\u003c/em\u003e\u003cbr /\u003e\u003cem\u003efrom the Japanese art audience were so funny to see and hear\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ethat during the public debate Ilya and I regularly started\u003c/em\u003e\u003cbr /\u003e\u003cem\u003esnorting because we couldn\u0026#39;t keep ourselves from laughing.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eIt was a comical and instructive evening.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThanks to the linguistic consilience of the Flemish scarab\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand the Russian fly who both unwittingly sounded ironical\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ein face of Japanese seriousness.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Tokyo, 28 March 1997)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e1997\u003cbr /\u003e​New York, dak en kelder van Ilya Kabakov\u003c/strong\u003e\u003cbr /\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eIn de film die werd gemaakt in Ilya Kabakov\u0026rsquo;s woning in New York delen de twee kunstenaar, als vlieg en scarabee, het geheim van de kunst. Ze bespreken, elk in hun eigen taal, de verschillende dimensies van het kunstenaar zijn in hun eigen land.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Tonight was the world premier of the performance film\u003c/em\u003e\u003cbr /\u003e\u003cem\u003e\u0026#39;A Meeting / Vstrecha\u0026#39; that I made together with Ilya Kabakov.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eIt was a splendid language mix-up for a sell-out\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eTokyo National Opera House.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eAn Act of Flemish-Russian poetic resistance\u003c/em\u003e\u003cbr /\u003e\u003cem\u003e(we had both refused to speak English).\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe public debate after the screening turned into a language\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eperformance by a Russian fly and a Flemish scarab.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe Japanese audience were given simultaneouss translations\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand I think they believed that I understood Russian\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand Ilya Flemish.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003e(We had applied the same principle to the film,\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ejust a matter of writing out a scenario).\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe looks of wonder.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe faces full of admiration.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe \u0026#39;oooshs\u0026#39; of credence and the \u0026#39;ai-es\u0026#39; (yesses) of incredulity\u003c/em\u003e\u003cbr /\u003e\u003cem\u003efrom the Japanese art audience were so funny to see and hear\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ethat during the public debate Ilya and I regularly started\u003c/em\u003e\u003cbr /\u003e\u003cem\u003esnorting because we couldn\u0026#39;t keep ourselves from laughing.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eIt was a comical and instructive evening.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThanks to the linguistic consilience of the Flemish scarab\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand the Russian fly who both unwittingly sounded ironical\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ein face of Japanese seriousness.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Tokyo, 28 March 1997)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Tonight was the world premier of the performance film\u003c/em\u003e\u003cbr /\u003e\u003cem\u003e\u0026#39;A Meeting / Vstrecha\u0026#39; that I made together with Ilya Kabakov.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eIt was a splendid language mix-up for a sell-out\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eTokyo National Opera House.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eAn Act of Flemish-Russian poetic resistance\u003c/em\u003e\u003cbr /\u003e\u003cem\u003e(we had both refused to speak English).\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe public debate after the screening turned into a language\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eperformance by a Russian fly and a Flemish scarab.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe Japanese audience were given simultaneouss translations\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand I think they believed that I understood Russian\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand Ilya Flemish.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003e(We had applied the same principle to the film,\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ejust a matter of writing out a scenario).\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe looks of wonder.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe faces full of admiration.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe \u0026#39;oooshs\u0026#39; of credence and the \u0026#39;ai-es\u0026#39; (yesses) of incredulity\u003c/em\u003e\u003cbr /\u003e\u003cem\u003efrom the Japanese art audience were so funny to see and hear\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ethat during the public debate Ilya and I regularly started\u003c/em\u003e\u003cbr /\u003e\u003cem\u003esnorting because we couldn\u0026#39;t keep ourselves from laughing.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eIt was a comical and instructive evening.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThanks to the linguistic consilience of the Flemish scarab\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eand the Russian fly who both unwittingly sounded ironical\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ein face of Japanese seriousness.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, Tokyo, 28 March 1997)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12661,"title":"A Consilience ","dimensions":"00:36:00","date_begin":"2000-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA","cached_tag_list":"Martin Brendell, Martin Hall, Rory Post, Dick Van-Wright, Ian Gauld, 78, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":34,"permalink":"a-consilience","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/000/027/642/large/still.JPG?1426503899","poster_credits":"(c)Angelos bvba, Collection M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e\u003cspan style=\"line-height:1.6\"\u003eLondon, The Natural History Museum\u003c/span\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eJan Fabre was artist in residence in The Natural History Museum of London for three years. The final result is a film in which he dresses the various museum specialists as the animals of their research. The artist discuss the cross fertilisation, the consilience, between art and science with them.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem style=\"line-height:1.6\"\u003e\u0026#39;Today\u0026#39;s actions with the butterfly specialist\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eDick Vane-Wright had a liberating and poetic\u003c/em\u003e\u003cbr /\u003e\u003cem\u003epower.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe power of childlike transparency.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThese actions were a drastic weapon\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eagainst the conventions of what is\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ecurrently considered to be Performance art.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, London, 9 October 1999)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The Quest for consilience continues.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eAnd the Natural History Museum is the perfect\u003c/em\u003e\u003cbr /\u003e\u003cem\u003espritual terrain on which to pursue this research\u003c/em\u003e\u003cbr /\u003e\u003cem\u003einto the possible cross-fertilisation\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ebetween science and art.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, London, 11 october 1999)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem style=\"line-height:1.6\"\u003e\u0026#39;What do an exciting and interesting scientist\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eand an exciting and interesting artist have in\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ecommon?\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThey both have an unremitting urge to hazard\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ea leap into the uknown time and time again\u003c/em\u003e\u003cbr /\u003e\u003cem\u003e(ART IS PERFORMANCE).\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, London, 12 October 1999)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eLondon, The Natural History Museum\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eDrie jaar lang was Jan Fabre artist in residence van The Natural History Museum. Als eindproduct maakte hij een film waar hij specialisten van het museum aankleedde als een dier uit hun onderzoeksdomein. De gesprekken die ze hadden was over de kruisbestuiving, de consilience, tussen kunst en wetenschap.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Today\u0026#39;s actions with the butterfly specialist\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eDick Vane-Wright had a liberating and poetic\u003c/em\u003e\u003cbr /\u003e\u003cem\u003epower.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThe power of childlike transparency.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThese actions were a drastic weapon\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eagainst the conventions of what is\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ecurrently considered to be Performance art.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, London, 9 October 1999)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The Quest for consilience continues.\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eAnd the Natural History Museum is the perfect\u003c/em\u003e\u003cbr /\u003e\u003cem\u003espritual terrain on which to pursue this research\u003c/em\u003e\u003cbr /\u003e\u003cem\u003einto the possible cross-fertilisation\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ebetween science and art.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, London, 11 october 1999)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;What do an exciting and interesting scientist\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003eand an exciting and interesting artist have in\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ecommon?\u003c/em\u003e\u003cbr /\u003e\u003cem\u003eThey both have an unremitting urge to hazard\u003c/em\u003e\u003cbr /\u003e\u003cem\u003ea leap into the uknown time and time again\u003c/em\u003e\u003cbr /\u003e\u003cem\u003e(ART IS PERFORMANCE).\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, London, 12 October 1999)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":12653,"title":"A Meeting / Vstrecha (The Mystery of Art) (series)","dimensions":"14 x (34.5 x 27 cm)","date_begin":"1997-01-01","material":"colour pencil, watercolour and Indian ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":13,"stream_count":0,"collection":"Private Collection; The Deweer Collection, Otegem","cached_tag_list":"76, Ilya Kabakov, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":48,"permalink":"a-meeting-vstrecha-the-mystery-of-art-series","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/000/027/168/large/1997_ONTMOETING_001.jpg?1425654894","poster_credits":"(c)Angelos bvba","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13735,"title":"Jan Fabre - Passage","dimensions":"30.5 x 24.5 cm, 95 p., language : Dutch, English, publisher : Museum van Hedendaagse Kunst, Antwerpen","date_begin":"1997-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1996/550","stream_count_app":7,"permalink":"jan-fabre-passage","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/349/large/__Photo_M_HKA__49.jpg?1458563933","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eForeword : Florent Bex, Director MuHKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Bart De Baere, Stefan Hertmans, Mauro Panzera \u0026amp; Bart Verschaffel.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eAvailable in the M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eForeword : Florent Bex, Director MuHKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Bart De Baere, Stefan Hertmans, Mauro Panzera \u0026amp; Bart Verschaffel.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eVerkrijgbaar in de M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eForeword : Florent Bex, Director MuHKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Bart De Baere, Stefan Hertmans, Mauro Panzera \u0026amp; Bart Verschaffel.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eDisponible dans le M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"}]},{"id":13821,"title":"Jan Fabre - Stigmata (Actions \u0026 Performances 1976-2013)","dimensions":"30.4 x 21.8 cm, 647 p., language : English, publisher : Skira Editore S.p.A., Milano, ISBN : 9788857221243","date_begin":"2014-01-01","material":"Ink, paper","short_description":"\u003cp\u003eEditor \u0026amp; author : Germano Celant.\u003c/p\u003e\u003cp\u003eTexts : Germano Celant \u0026amp; Jan Fabre.\u003c/p\u003e","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 2026/676","stream_count_app":7,"permalink":"jan-fabre-stigmata-actions-performances-1976-2013","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/279/large/__Photo_M_HKA__2.jpg?1458551538","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13822,"title":"Jan Fabre - Stigmata (Acties \u0026 Performances 1976-2013) - Nederlands addendum","dimensions":"29.7 x 21 cm, 67 p., language : Dutch, publisher : Museum van Hedendaagse Kunst, Antwerpen","date_begin":"2015-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibiton catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2027/122","stream_count_app":8,"permalink":"jan-fabre-stigmata-acties-performances-1976-2013-nederlands-addendum","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/278/large/__Photo_M_HKA_.jpg?1458551394","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eHead Editor : Germano Celant.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditors : Katrien Bruyneel, Bert De Vlegelaer (M HKA staff), Nino Goyvaerts \u0026amp; Piet Van Hecke (M HKA staff).\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHead Editor : Germano Celant.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditors : Katrien Bruyneel, Bert De Vlegelaer (M HKA staff), Nino Goyvaerts \u0026amp; Piet Van Hecke (M HKA staff).\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eHead Editor : Germano Celant.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditors : Katrien Bruyneel, Bert De Vlegelaer (M HKA staff), Nino Goyvaerts \u0026amp; Piet Van Hecke (M HKA staff).\u003c/p\u003e\r\n"}]},{"id":17586,"title":"Maandstonden van Gerda","dimensions":"27.5 x 21.5 cm","date_begin":"1982-01-01","material":"blood, pencil 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":"Private Collection, Belgium","cached_tag_list":"barok","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"maandstonden-van-gerda","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/000/038/438/medium_500/Jan_Fabre__Maandstonden_van_Gerda_%2814%29___1982__Private_collection__Belgium.jpg?1511788852","cached_actor_names":"Jan Fabre","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/000/038/438/large/Jan_Fabre__Maandstonden_van_Gerda_%2814%29___1982__Private_collection__Belgium.jpg?1511788852","poster_credits":"(c)image: Angelos, © SABAM Belgium 2018","translations":[{"locale":"en","description":"\u003cp\u003eJan Fabre is\u0026nbsp;\u0026nbsp;included in \u003ci\u003eSanguine/Bloedrood\u003c/i\u003e with two blood drawings that refer directly to his challenging performances from the early eighties in which he uses his own body as an experimental laboratory to express the potent vitality of existence.\u0026nbsp;In the smallness of the early blood drawings, Luc Tuymans sees both a humble and a grand gesture: a trace of blood as a remnant of Jan Fabre\u0026#39;s personal writing.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn de tentoonstelling \u003cem\u003eSanguine/Bloedrood\u003c/em\u003e Jan Fabre hij aanwezig met twee bloedtekeningen die rechtstreeks verwijzen naar zijn uitdagende performances uit de vroege jaren tachtig, waarbij hij zijn eigen lichaam gebruikt als experimenteel laboratorium om de bulkende vitaliteit van het bestaan uit te drukken. Luc Tuymans ziet in de kleinheid van de vroege bloedtekeningen een nederig en een groots gebaar tegelijk: een bloedspoor als restant van de persoonlijke schriftuur van Jan Fabre.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDans l\u0026rsquo;exposition \u003cem\u003eSanguine/Bloedrood\u003c/em\u003e, ses deux dessins de sang renvoient directement \u0026agrave; ses performances provocatrices du d\u0026eacute;but des ann\u0026eacute;es\u0026nbsp;80, lorsque son corps faisait office de laboratoire exp\u0026eacute;rimental pour exprimer la vitalit\u0026eacute; criante de l\u0026rsquo;existence. Luc Tuymans voit dans le petit format des dessins de sang un geste \u0026agrave; la fois humble et grandiose\u0026nbsp;: une trace de sang comme r\u0026eacute;sidu des \u0026eacute;crits personnels de Jan Fabre.\u003c/p\u003e\r\n"}]},{"id":17587,"title":"Een mug / Vampier op mijn bloed","dimensions":"21 x 29.7 cm","date_begin":"1978-01-01","material":"blood, pencil 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":"Private Collection, Belgium","cached_tag_list":"barok","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"een-mug-vampier-op-mijn-bloed","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/000/038/437/medium_500/Een_mug__vampier_op_mijn_bloed.jpg?1511788732","cached_actor_names":"Jan Fabre","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/000/038/437/large/Een_mug__vampier_op_mijn_bloed.jpg?1511788732","poster_credits":"(c)image: Angelos, © SABAM Belgium 2018","translations":[{"locale":"en","description":"\u003cp\u003eJan Fabre is\u0026nbsp;included in \u003ci\u003eSanguine/Bloedrood\u003c/i\u003e with two blood drawings that refer directly to his challenging performances from the early eighties in which he uses his own body as an experimental laboratory to express the potent vitality of existence.\u0026nbsp;In the smallness of the early blood drawings, Luc Tuymans sees both a humble and a grand gesture: a trace of blood as a remnant of Jan Fabre\u0026#39;s personal writing.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn de tentoonstelling \u003cem\u003eSanguine/Bloedrood\u003c/em\u003e\u0026nbsp;is Jan Fabre\u0026nbsp;aanwezig met twee bloedtekeningen die rechtstreeks verwijzen naar zijn uitdagende performances uit de vroege jaren tachtig, waarbij hij zijn eigen lichaam gebruikt als experimenteel laboratorium om de bulkende vitaliteit van het bestaan uit te drukken. Luc Tuymans ziet in de kleinheid van de vroege bloedtekeningen een nederig en een groots gebaar tegelijk: een bloedspoor als restant van de persoonlijke schriftuur van Jan Fabre.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDans l\u0026rsquo;exposition \u003cem\u003eSanguine/Bloedrood\u003c/em\u003e, ses deux dessins de sang renvoient directement \u0026agrave; ses performances provocatrices du d\u0026eacute;but des ann\u0026eacute;es\u0026nbsp;80, lorsque son corps faisait office de laboratoire exp\u0026eacute;rimental pour exprimer la vitalit\u0026eacute; criante de l\u0026rsquo;existence. Luc Tuymans voit dans le petit format des dessins de sang un geste \u0026agrave; la fois humble et grandiose\u0026nbsp;: une trace de sang comme r\u0026eacute;sidu des \u0026eacute;crits personnels de Jan Fabre.\u003c/p\u003e\r\n"}]},{"id":168,"title":"Ik, aan het dromen [Me, Dreaming]","dimensions":"table; 70x 50 x 80 cm, chair; 140 x 50 x 40 cm; figure; 160 x 50 x 100 cm, microscope; 20 x 10 x 10 cm","date_begin":"1978-01-01","material":"mannequin, plaster, clothes, smoked meat, table, chair, microscope, nails, thumbnails","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA / Collection Flemish Community","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp style=\"text-align: justify;\"\u003eThe work of Jan Fabre is about continuous enactment. He is a romantic and enhances an extreme faith in art; a heroic investment, a life \u0026amp; death aspect of art-making. He is searching for intensity, searching for a re-opening of space which has been closed. A space of aiming for an active understanding of the world. Jan Fabre can be related to local intellectual spheres of baroque: a transcendence of global space of understanding of the world as in the paintings of Rubens. The world as an elegiac space: a na\u0026iuml;ve space where experience \u0026amp; nature can merge. These works are more performance about intensity; acting out for the better or the worse. He\u0026rsquo;s 100% affirmative and works on the verge of kitsch. Jan Fabre as Rubens incorporate the power of art and a certain cruelty in their works but Jan Fabre resents the problem of affirmation. In this impossibility he presents the conceivability of a different attitude today.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e​​​​​​​Zentral in dem Werk Jan Fabres steht das Auff\u0026uuml;hren, das Darstellen. Er ist ein Romantiker und hegt einen tiefen Glauben an die Kunst. Es ist ein heroischer Akt, Kunst kreieren auf Leben und Tod. Er ist auf der Suche nach Intensit\u0026auml;t, nach einer Wiederer\u0026ouml;ffnung des abgeschlossenen Raums, ein Raum um sich nach einem aktiven Begriff der Welt zu richten. Jan Fabre kann mit \u0026ouml;rtlichen intellektuellen Barockstr\u0026ouml;mungen in Verbindung gebracht werden: eine Transzendenz von globalem Raum um die Welt zu verstehen, so wie in den Gem\u0026auml;lden Rubens. Die Welt als ein elegischer Raum, ein naiver Raum, in dem Erfahrung und Natur ineinander \u0026uuml;bergehen k\u0026ouml;nnen. Seine Werke sind Performances \u0026uuml;ber Intensit\u0026auml;t: auff\u0026uuml;hren gegen besseres Wissen. Er ist hundert Prozent best\u0026auml;tigend und arbeitet auf der Grenze zu Kitsch. Jan Fabre verk\u0026ouml;rpert die Macht der Kunst und eine gewisse Grausamkeit in seinem Werk, sowie Rubens, aber Fabre verabscheut das Problem der Best\u0026auml;tigung. In dieser Unm\u0026ouml;glichkeit steht er f\u0026uuml;r die Empf\u0026auml;nglichkeit einer anderen modernen Haltung.\u003c/p\u003e\r\n","date_end":null,"reference":"BK6962","stream_count_app":85,"permalink":"ik-aan-het-dromen-me-dreaming","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDieses fr\u0026uuml;he Werk von Jan Fabre \u0026ndash; einem K\u0026uuml;nstler, der selbst nicht unumstritten ist, da er k\u0026uuml;rzlich in Belgien wegen \u0026Uuml;bergriffen und sexueller Bel\u0026auml;stigung von Frauen verurteilt - \u0026nbsp; wurde erstmals in einer Galerie pr\u0026auml;sentiert, die sich gegen\u0026uuml;ber einer Bar einer rechtsgerichteten Miliz mit Neonazi-Beziehungen befand. Die Ausstellung, die Fabre machte, war eine offene Reaktion auf diese Organisation. Sie war defensiv, auf eine vitale, selbstbewusste Weise. Gleichzeitig hatte sie eine radikal andere Ausrichtung.\u003cbr /\u003e\r\nJan Fabre stellt sein eigene, mit Goldn\u0026auml;geln besetztes Bildnis, \u0026nbsp;das durch ein Mikroskop blickt und die Welt genau wie seine Kunst untersucht und beobachtet, vor einen Tisch. Die sch\u0026uuml;tzende H\u0026uuml;lle, die der K\u0026uuml;nstler f\u0026uuml;r sich selbst geschaffen hat, ist mit ihren Tausenden von sch\u0026ouml;nen, aber \u0026nbsp;spitzen Nadeln verlockend und absto\u0026szlig;end zugleich. Eine solche ambivalente Reaktion wird durch Instinkte ausgel\u0026ouml;st, die uns menschlich machen \u0026ndash; \u0026nbsp;dem Verlangen nach Sch\u0026ouml;nheit in Verbindung mit k\u0026ouml;rperlicher, geistiger und emotionaler Selbstverteidigung. Aber dieser Traumanzug hat sichtbare L\u0026uuml;cken, die Zerbrechlichkeit und Gef\u0026uuml;hle symbolisieren, die wir nicht kontrollieren k\u0026ouml;nnen.\u0026nbsp;\u003cbr /\u003e\r\nEs ist eine Art H\u0026uuml;lle, mit der alle Menschen in der Ukraine heute vertraut sind, weil sie sich mit der Realit\u0026auml;t auseinandersetzen m\u0026uuml;ssen. Aber sie ist nie vollst\u0026auml;ndig sch\u0026uuml;tzend.\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/000/000/278/medium_500/Fabre_Jan_collection_M_HKA__photo__M_HKAcc.jpg?1615474874","cached_actor_names":"Jan Fabre","hide_from_json":false,"prev_platform_id":null,"description_uk":"\u003cp\u003eЯн Фабр зображує себе у вигляді фігури, що сидить за столом і дивиться в мікроскоп, розглядаючи та досліджуючи світ, як сам автор робить у своїх творах. Фігура вкрита золотистими кнопками, що створюють своєрідну захисну оболонку, яка одночасно приваблює своєю красою та відлякує тисячами гостряків. Це відображення інстинктів, що роблять нас людьми: прагнення краси і потреби в захисті, як фізичному, так і психологічному та емоційному. Та це вбрання мрійника має помітні прогалини, що символізують вразливість і почуття, які ми не в змозі контролювати.\u003c/p\u003e\r\n\r\n\u003cp\u003eЦю ранню роботу Фабр створив ще будучи молодим митцем. Вона призначалася для виставки, що проходила в галереї через дорогу від бару, який був місцем збору членів сумнозвісної радикальної організації \u0026laquo;Орден фламандських бойовиків\u0026raquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003eСучасні реалії змушують кожного українця мати подібну захисну оболонку. Але й вона дає лише частковий захист.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\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/000/069/754/large/Fabre_Jan_collection_M_HKA__photo__M_HKAcc.jpg?1615474658","poster_credits":"image: (c) M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThis early work by Jan Fabre \u0026ndash; an artist who is himself not uncontested, having been recently convicted in Belgium of the assault and sexual harassment of women \u0026ndash; was first presented in a gallery which was located opposite a bar of a right-wing militia with neo-Nazi affiliations. The exhibition Fabre made was an overt response to that organisation. It was defensive, in a vital, self-assured way. At the same time, it takes a radically different orientation.\u003cbr /\u003e\r\nStudded in gold tacks, Jan Fabre creates his own effigy as one before a table, looking through a microscope, scrutinizing and observing the world, much as his art does. The protective shell the artist created for himself is both alluring and repellent, with its thousands of beautiful, yet sharp pins. Such an ambivalent reaction is triggered by instincts that make us human \u0026ndash; a desire for beauty combined with self-defence that is physical, mental and emotional. But this dream suit has visible gaps, symbolizing fragility and feelings we cannot control.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eIt is a kind of a shell that every Ukrainian now is familiar with because of the need to deal with reality. But it\u0026rsquo;s never fully protective.\u0026nbsp;\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eHet werk van Jan Fabre draait voortdurend om opvoeren, vertolken. Hij is een romanticus, en hecht een diep geloof in kunst. Het is een hero\u0026iuml;sche investering, kunst maken op leven en dood. Hij is op zoek naar intensiteit, naar een heropening van ruimte die is afgesloten. Een ruimte om zich te richten naar een actief begrip van de wereld. Jan Fabre kan in verband worden gebracht met lokale intellectuele stromingen van barok: een transcendentie van globale ruimte om de wereld te begrijpen als in de schilderijen van Rubens. De wereld als een elegische ruimte, een na\u0026iuml;eve ruimte waarin ervaring en natuur in elkaar kunnen overvloeien. Zijn werken zijn performances over intensiteit: opvoeren tegen beter weten in. Hij is 100 procent bevestigend en werkt op de grens met kitsch. Jan Fabre belichaamt, net zoals Rubens, de macht van kunst en een zekere wreedheid in zijn werk, maar Fabre verafschuwt het probleem van bevestiging. In die onmogelijkheid staat hij voor de ontvankelijkheid van een andere hedendaagse attitude.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eL\u0026#39;\u0026oelig;uvre de Jan Fabre tourne en permanence autour de la d\u0026eacute;duction, de l\u0026#39;interpr\u0026eacute;tation. C\u0026#39;est un romantique et il attache une foi profonde \u0026agrave; l\u0026#39;art. C\u0026#39;est un investissement h\u0026eacute;ro\u0026iuml;que, faire de l\u0026#39;art sur la vie et la mort. Il recherche l\u0026#39;intensit\u0026eacute;, une r\u0026eacute;ouverture de l\u0026#39;espace qui a \u0026eacute;t\u0026eacute; ferm\u0026eacute;. Un espace pour s\u0026#39;orienter vers une compr\u0026eacute;hension active du monde. Jan Fabre peut \u0026ecirc;tre rapproch\u0026eacute; des courants intellectuels locaux du baroque : une transcendance de l\u0026#39;espace global pour comprendre le monde comme dans les peintures de Rubens. Le monde en tant qu\u0026#39;espace \u0026eacute;l\u0026eacute;giaque, na\u0026iuml;f o\u0026ugrave; l\u0026#39;exp\u0026eacute;rience et la nature peuvent couler l\u0026#39;un dans l\u0026#39;autre. Ses \u0026oelig;uvres sont des performances sur l\u0026#39;intensit\u0026eacute; : d\u0026eacute;duire contre mieux savoir. Il confirme \u0026agrave; 100 pour cent et travaille \u0026agrave; la fronti\u0026egrave;re du kitsch. Jan Fabre incarne, comme Rubens, la puissance de l\u0026#39;art et une certaine cruaut\u0026eacute; dans son \u0026oelig;uvre mais il d\u0026eacute;teste le probl\u0026egrave;me de la confirmation. Dans cette impossibilit\u0026eacute;, il est pour la r\u0026eacute;ceptivit\u0026eacute; d\u0026#39;une autre attitude contemporaine.\u003c/p\u003e\r\n"}]},{"id":3854,"title":"9 Insectenobjecten","dimensions":"90 x 130 x 65 cm","date_begin":"1977-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":58,"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":"1979-01-01","reference":"BK6948_M173D","stream_count_app":33,"permalink":"9-insectenobjecten","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 Fabre","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/000/007/774/large/Fabre__0014_Jan__9_insectenobjecten__1977-79____foto_Syb'l_S._Pictures.jpg?1340632800","poster_credits":"(c)image: Syb'l S. Pictures","translations":[{"locale":"en","description":"\u003cp\u003eInsects have been ubiquitous in Jan Fabre\u0026rsquo;s work right from the start. At the age of twenty, at the end of the seventies, he made drawings of insects and transformed them into surreal objects or hybrid beings. The bodies and movements of these strange creatures continue to inspire his later work. Spiders, beetles and cocoons act as a metaphor for miraculous transformations and endless cycles of birth, death and rebirth. Fabre uses insects as in-between creatures and messengers to convey his unique world-view to his audience.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eInsecten zijn sinds het prille begin alomtegenwoordig in het werk van Jan Fabre. Op twintigjarige leeftijd, eind jaren zeventig, maakt hij insectentekeningen en transformeert hij insecten tot surre\u0026euml;le objecten of hybride wezens. Maar ook in zijn latere werk blijven de lichamen en bewegingen van deze eigenaardige wezens zijn oeuvre inspireren. Spinnen, kevers en cocons dienen er als metafoor voor wonderbaarlijke metamorfoses en oneindige cycli van geboorte, dood en wedergeboorte. Fabre zet insecten in als tussenwezens en boodschappers om zijn eigenzinnige kijk op de wereld naar de toeschouwer over te brengen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLes insectes sont omnipr\u0026eacute;sents dans l\u0026rsquo;\u0026oelig;uvre de Jan Fabre, et ce, d\u0026egrave;s le tout d\u0026eacute;but. \u0026Agrave; l\u0026rsquo;\u0026acirc;ge de vingt ans, \u0026agrave; la fin des ann\u0026eacute;es 70, il r\u0026eacute;alise des dessins entomologiques et transforme des insectes en objets irr\u0026eacute;els ou en cr\u0026eacute;atures hybrides. Dans son \u0026oelig;uvre plus tardive, les corps et les mouvements de ces animaux \u0026eacute;tranges continuent \u0026agrave; inspirer ses cr\u0026eacute;ations. Araign\u0026eacute;es, col\u0026eacute;opt\u0026egrave;res et cocons font office de m\u0026eacute;taphore \u0026agrave; des m\u0026eacute;tamorphoses stup\u0026eacute;fiantes et des cycles infinis de naissance \u0026ndash; mort \u0026ndash; renaissance. Fabre consid\u0026egrave;re les insectes comme des cr\u0026eacute;atures interm\u0026eacute;diaires, des messagers qui transmettent aux spectateurs son regard singulier sur le monde.\u003c/p\u003e\r\n"}]},{"id":3919,"title":"Rorschacht","dimensions":"20 x 30 cm","date_begin":"1995-01-01","material":"bic, paper","short_description":"","art_status_id":13,"legal_status_id":46,"category_id":20,"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":"BK7683_C","stream_count_app":13,"permalink":"rorsach","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 Fabre","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/000/024/607/large/Fabre__jan__Rorschacht__2008_photoM_HKAclinckx.jpg?1408538744","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThe shape of the patch of blue ball pen ink and the title of the work \u0026ndash; \u003cem\u003eRorsach\u003c/em\u003e \u0026ndash; refer to the Rorschach test, a psychological test introduced by Hermann Rorschach in 1921. The test is based on the tendency to project interpretations and emotions onto things, in this case ink blots. On the basis of these interpretations, psychologists try to understand the subject\u0026rsquo;s deeper characteristics and impulses. In their interpretations or \u0026lsquo;readings\u0026rsquo; of the ink blots, the subjects often mention living creatures: butterflies, moths, spiders, bats, and so on.\u003c/p\u003e\r\n\r\n\u003cp\u003eSeveral common motifs in Jan Fabre\u0026rsquo;s oeuvre are to be found together in this work, including his fascination for insects, metamorphosis and the workings of the human psyche.\u003cem\u003e Rorsach\u003c/em\u003e is a work in blue ball pen. In Fabre\u0026rsquo;s mind, this specific blue relates to the moment between night and day, between death and life, and to the moment when nocturnal creatures go to sleep and diurnal creatures wake up: the \u0026lsquo;blue hour\u0026rsquo;. This blue hour is the link between the ball pen and the animal world, and especially that of insects.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe adoption or quotation of existing things, such as the widely renowned Rorschach test, is a major element in Fabre\u0026rsquo;s oeuvre. Well-known and familiar images are given new substance and are incorporated into the artist\u0026rsquo;s world.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe vorm van de blauwgebicte vlek en de titel van het werk \u003cem\u003eRorsach\u003c/em\u003e verwijzen naar de Rorsachtest, een psychologische test die door Hermann Rorsach ge\u0026iuml;ntroduceerd werd in 1921. Deze test is gebaseerd op de menselijke neiging interpretaties en gevoelens te projecteren op, in dit geval, inktvlekken. Op basis van de gegeven interpretaties proberen psychologen om diepere persoonlijke karaktertrekken en impulsen van de testpersonen te begrijpen. In deze interpretaties of \u0026lsquo;lezingen\u0026rsquo; van de inktvlekken verwijzen de proefpersonen vaak naar dieren: vlinders, motten, spinnen, vleermuizen,\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003eVerschillende motieven uit het oeuvre van Jan Fabre komen in dit werk samen, onder andere zijn fascinatie voor insecten, voor metamorfose en voor het functioneren van de menselijke psyche. \u003cem\u003eRorsach \u003c/em\u003eis uitgevoerd in blauwe bic. Dit typische blauw verwijst voor de kunstenaar naar het moment tussen nacht en dag, tussen dood en leven, naar het tijdstip waarop de nachtdieren hun slaap aanvatten en de dagdieren ontwaken: het \u0026lsquo;uur blauw\u0026rsquo;. Dit blauwe uur is de verbinding tussen de balpen en de wereld van de dieren en in het bijzonder die van de insecten.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet overnemen of citeren van bestaande gegevens, zoals in dit geval de overbekende Rorsachtest, is een belangrijk element in het oeuvre van Fabre. Bekende, vertrouwde beelden krijgen een nieuwe invulling en worden ingelijfd in het universum van de kunstenaar.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLa forme de la tache crayonn\u0026eacute;e au stylo \u0026agrave; bille bleu et le titre de l\u0026rsquo;\u0026oelig;uvre \u003cem\u003eRorsach\u003c/em\u003e font r\u0026eacute;f\u0026eacute;rence au test de Rorsach, un outil d\u0026rsquo;\u0026eacute;valuation psychologique \u0026eacute;labor\u0026eacute; par le psychiatre Hermann Rorsach, en 1921. Cet examen s\u0026rsquo;appuie sur la tendance humaine \u0026agrave; projeter des interpr\u0026eacute;tations et des sentiments sur des taches d\u0026rsquo;encre. En s\u0026rsquo;appuyant sur les interpr\u0026eacute;tations donn\u0026eacute;es, les psychologues tentent de comprendre les traits de caract\u0026egrave;re intimes et les impulsions des personnes examin\u0026eacute;es. Dans cette interpr\u0026eacute;tation ou lecture des taches d\u0026rsquo;encre, les sujets observ\u0026eacute;s voient souvent des animaux : papillons, mites, araign\u0026eacute;es, chauves-souris\u0026hellip;\u003c/p\u003e\r\n\r\n\u003cp\u003eDiff\u0026eacute;rents motifs de l\u0026rsquo;\u0026oelig;uvre de Jan Fabre se rejoignent dans cette \u0026oelig;uvre, entre autres, sa fascination pour les insectes, la m\u0026eacute;tamorphose et le fonctionnement de la psych\u0026eacute; humaine. \u003cem\u003eRorsach\u003c/em\u003e est ex\u0026eacute;cut\u0026eacute; au stylo \u0026agrave; bille bleu. Ce bleu caract\u0026eacute;ristique r\u0026eacute;f\u0026egrave;re selon l\u0026rsquo;artiste au moment entre la nuit et le jour, entre la vie et la mort, le moment o\u0026ugrave; les animaux nocturnes entament leur sommeil et les animaux diurnes se r\u0026eacute;veillent : \u0026rsquo;l\u0026rsquo;heure bleue\u0026rsquo;. Celle-ci constitue le lien entre le stylo \u0026agrave; bille et le monde des animaux, et plus particuli\u0026egrave;rement celui des insectes.\u003c/p\u003e\r\n\r\n\u003cp\u003eLa reprise ou la citation de donn\u0026eacute;es existantes \u0026ndash; dans ce cas pr\u0026eacute;cis, le tr\u0026egrave;s c\u0026eacute;l\u0026egrave;bre test de Rorsach \u0026ndash; est un \u0026eacute;l\u0026eacute;ment important et r\u0026eacute;current dans l\u0026rsquo;\u0026oelig;uvre de Fabre. Des images connues, famili\u0026egrave;res se voient attribuer une nouvelle teneur et sont incorpor\u0026eacute;es \u0026agrave; l\u0026rsquo;univers de l\u0026rsquo;artiste.\u003c/p\u003e\r\n"}]}]