[{"id":4357,"title":"Judith","dimensions":"50.6 x 76.2 cm","date_begin":"1992-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset 11/44\u003c/p\u003e\r\n","date_end":null,"reference":"BK006091-006","stream_count_app":10,"permalink":"judith","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/761/large/Vercruysse__Jan__Judith__1992.jpg?1343641811","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4363,"title":"Ile de France","dimensions":"57 x 37 cm","date_begin":"1974-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7487_M339","stream_count_app":13,"permalink":"ile-de-france","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/762/large/Vercruysse__Jan__Ile_de_France__1974.jpg?1343641979","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4366,"title":"mes 1","dimensions":"30 x 7,5 x 5 cm, 25 x 3 cm","date_begin":"2007-01-01","material":"stainless steel, coloured glass, oxidized silver","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eKnife mad out of stainless steel, with a red and blue coloured glass blade, divided by oxidized silver. Edition by D\u0026amp;L Lab, Brussels. Edition of 21 issues and 2 artist Proofs. Issue 1/21\u003c/p\u003e\r\n","date_end":null,"reference":"BK7705_M455","stream_count_app":17,"permalink":"mes-1","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/778/medium_500/Vercruysse_Jan_Mes1_2009.jpg?1343647738","cached_actor_names":"Jan Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/778/large/Vercruysse_Jan_Mes1_2009.jpg?1343647738","poster_credits":" ©Jan Vercruysse. Image: M H KA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4358,"title":"Lilith","dimensions":"50.6 x 76.2 cm","date_begin":"1992-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset 11/44\u003c/p\u003e\r\n","date_end":null,"reference":"BK006091-007","stream_count_app":13,"permalink":"lilith","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/742/large/Vercruysse__Jan__Lilith__1992_photo_clinckx.jpg?1343638590","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4365,"title":"Places (II.8)","dimensions":"300 x 285 x 2 cm","date_begin":"2006-01-01","material":"cor-ten steel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7588","stream_count_app":41,"permalink":"places-ii-8","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/777/large/Vercruysse__Jan__Places_II.8__2006__photo__MuHKA_clinckx.jpg?1343647539","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThroughout the series \u003cem\u003ePlaces\u003c/em\u003e, Jan Vercruysse uses the universally recognizable symbols of playing cards to form a kind of new, associative language or script, which nonetheless appears incomprehensible. The work is not about the content itself, but about the possibility of content this \u0026#39;alphabet\u0026#39; offers. Looking at \u003cem\u003ePlaces (II.8)\u003c/em\u003e, we see five steel plates, seemingly arranged according to a functional pattern; however, a closer look reveals that the panels don\u0026#39;t match exactly and don\u0026#39;t lend themselves for any quick interpretation. Like many of Vercruysse\u0026#39;s other works, then, \u003cem\u003ePlaces (II.8)\u003c/em\u003e is not a place of communication. With its elusive harmony, the work keeps distance from the viewer. Vercruysse juxtaposes the works of the series \u003cem\u003ePlaces\u003c/em\u003e\u0026nbsp;against the series \u003cem\u003eTombeaux\u003c/em\u003e, which he created between 1988 and 1994. While the series of \u003cem\u003eTombeaux\u003c/em\u003e\u0026nbsp;consisted of places \u003cem\u003efor\u0026nbsp;\u003c/em\u003ememory \u0026ndash; meaning the \u003cem\u003eTombeaux\u003c/em\u003e\u0026nbsp;were in fact empty \u0026ndash; \u003cem\u003ePlaces\u003c/em\u003e\u0026nbsp;consists of places \u003cem\u003eof\u003c/em\u003e\u0026nbsp;memory: they store something, capture something, have a core and carry meaning.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;Where the Tombeaux works were \u0026#39;empty\u0026#39;, by definition full of the faculty of memory, I feel that these new works, Places, are more conclusive \u0026ndash; they concentrate \u0026#39;meanings\u0026#39;, \u0026#39;things that happened\u0026#39;, \u0026#39;parts of lives\u0026#39;. They allow and support a \u0026#39;fullness\u0026#39;. The fact that their physical appearance and presence, which will be very restricted, do not reveal at first glance and at once their content is, *of course*, a matter of art.\u0026quot;\u003c/em\u003e - Jan Vercruysse\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDoorheen de reeks \u003cem\u003ePlaces\u003c/em\u003e\u0026nbsp;gebruikt Jan Vercruysse de algemeen herkenbare symbolen van het kaartspel. Deze tekens vormen een soort nieuwe, associatieve beeldtaal, die niettemin onleesbaar lijkt. Het gaat dan ook niet zo zeer om de inhoud op zich, maar om de mogelijkheid tot inhoud die dit \u0026lsquo;alfabet\u0026rsquo; biedt. Dit zien we ook in \u003cem\u003ePlaces (II.8)\u003c/em\u003e: de vijf stalen platen lijken gearrangeerd volgens een bepaald functioneel patroon, maar bij nadere inspectie sluiten de panelen niet naadloos aaneen en lenen ze zich niet snel voor een inhoudelijke interpretatie. Net als veel van Vercruysses andere werken is \u003cem\u003ePlaces (II.8)\u003c/em\u003e\u0026nbsp;dus geen plaats van communicatie. Het bewaart met zijn ongrijpbare harmonie afstand tot de toeschouwer. Vercruysse plaatst de werken uit de reeks \u003cem\u003ePlaces\u003c/em\u003e\u0026nbsp;tegenover de reeks \u003cem\u003eTombeaux\u003c/em\u003e, waaraan hij tussen 1987 en 1994 werkte. Waar Vercruysse met deze \u003cem\u003eTombeaux\u003c/em\u003e\u0026nbsp;plaatsen cre\u0026euml;erde \u003cem\u003evoor\u003c/em\u003e herinnering \u0026ndash; de \u003cem\u003eTombeaux\u003c/em\u003e\u0026nbsp;waren dus in principe leeg \u0026ndash; ziet hij de \u003cem\u003ePlaces\u003c/em\u003e\u0026nbsp;als plaatsen \u003cem\u003evan\u003c/em\u003e\u0026nbsp;herinnering: ze slaan iets op, leggen iets vast, hebben een kern en een betekenis.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026quot;Terwijl de Tombeaux-werken \u0026#39;leeg\u0026#39; waren, per definite vol van het vermogen tot herinneren, heb ik het gevoel dat deze nieuwe werken, Places\u0026nbsp;conclusiever zijn - ze concentreren \u0026#39;betekenissen\u0026#39;, \u0026#39;dingen die gebeurd zijn\u0026#39;, \u0026#39;stukken leven\u0026#39;. Zij ondersteunen en staan een \u0026#39;volheid\u0026#39; toe. Het feit dat hun fysieke verschijning en aanwezigheid niet op het eerste gezicht en niet meteen, hun inhoud en betekenis onthullen, is vanzelfsprekend\u0026nbsp;een kwestie van kunst\u003c/em\u003e.\u0026quot; - Jan Vercruysse\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":4364,"title":"Atopies (VIII)","dimensions":"396 x 380 x 30 cm","date_begin":"1986-01-01","material":"mahogany veneer on wood, steel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7249 A-G","stream_count_app":54,"permalink":"atopies-viii","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/776/large/Vercruysse__Jan__Atopies_VIII__1986_foto_A4Avzw.jpg?1343647197","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eAtopies (VIII)\u003c/em\u003e\u0026nbsp;forms a reflection on art and on the place for art in the world. As its title suggests,\u003cem\u003e Atopies (VIII)\u003c/em\u003e is part of Vercruysse\u0026#39;s series of \u003cem\u003eAtopies\u003c/em\u003e, which he created between 1985 and 1987. The austere construction with mahogany mantelpiece and six wooden panels suggests the existence of a space; however, the space is closed and impossible to enter. The mantelpiece, usually a symbol of warmth and homeliness, an archetypical rendering of a \u0026quot;place\u0026quot;, fails to give a sense of security. Most of all, the work evokes a feeling of emptiness. \u0026#39;Atopie\u0026#39; literally means \u0026#39;non-place\u0026#39;. Vercruysse uses the word as a reference to the theme of the place for art in the world, which commonly recurs within his oeuvre. At the same time, it is a play of words with \u0026#39;utopie\u0026#39;, utopia, the world of vision and ideals. Perhaps Vercruysse is suggesting that for utopia, too, only emptiness remains.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026#39;It\u0026#39;s of course all about art and the place of art. To say that it would be a metaphor for saying that there is no place left would be too strong. \u0026quot;Left\u0026quot; is too strong. It is certainly about loss, but that doesn\u0026#39;t mean you can say that there is no place \u0026quot;left\u0026quot;. It is not about complaining. Loss is before presence.\u0026#39; \u003c/em\u003e- Jan Vercruysse, interview with Carolyn Christov-Bakargiev, 1987\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eAtopies (VIII)\u003c/em\u003e\u0026nbsp;vormt een reflectie op kunst en de plaats die kunst in de wereld inneemt. Zoals de titel al doet vermoeden, is \u003cem\u003eAtopies (VIII)\u003c/em\u003e onderdeel van Vercruysses serie \u003cem\u003eAtopies\u003c/em\u003e, waaraan hij werkte tussen 1985 en 1987. De sobere constructie met de mahonie schoorsteenmantel en zes houten panelen doet de suggestie van een ruimte; deze ruimte is echter gesloten en niet te betreden. De schoorsteenmantel, normaal gesproken een symbool voor warmte en huiselijkheid, een archetypische weergave van een \u0026quot;plaats\u0026quot;, kan geen geborgenheid bieden. Het werk roept vooral een gevoel van leegte op. \u0026lsquo;Atopie\u0026rsquo; betekent dan ook letterlijk \u0026lsquo;niet-plaats\u0026rsquo;, waarmee Vercruysse verwijst naar het veelvuldig terugkerende thema in zijn werk over de plaats voor kunst in de wereld. Tegelijkertijd is de titel een woordspeling op \u0026lsquo;utopie\u0026rsquo;, de wereld van idealen; misschien suggereert Vercruysse dat ook voor de utopie slechts leegte rest.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026ldquo;Natuurlijk gaat het over kunst en de plaats van kunst. Zeggen dat het een metafoor is om te zeggen dat er geen plaats overblijft, zou te sterk zijn. \u0026lsquo;Overblijft\u0026rsquo; is te sterk. Het gaat zeker over verlies, maar dat betekent niet dat je kan zeggen dat er geen plaats \u0026lsquo;overblijft\u0026rsquo;. Het is geen klaagzang. Verlies komt v\u0026oacute;\u0026oacute;r aanwezigheid.\u0026rdquo;\u003c/em\u003e - Jan Vercruysse, interview met Carolyn Christov-Bakargiev, 1987\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eAtopies (VIII)\u003c/em\u003e constitue une r\u0026eacute;flexion sur l\u0026rsquo;art et la place de l\u0026rsquo;art dans le monde. Comme le titre le sugg\u0026egrave;re, \u003cem\u003eAtopies (VIII)\u003c/em\u003e est un \u0026eacute;l\u0026eacute;ment de la s\u0026eacute;rie \u003cem\u003eAtopies\u003c/em\u003e, que Jan Vercruysse a r\u0026eacute;alis\u0026eacute;e entre\u0026nbsp;1985 et\u0026nbsp;1987. La construction sobre du manteau de chemin\u0026eacute;e en acajou et les six panneaux en bois \u0026eacute;voquent un espace \u0026ndash; cet espace est cependant clos et il est impossible d\u0026rsquo;y p\u0026eacute;n\u0026eacute;trer. Le manteau de chemin\u0026eacute;e, normalement un symbole de chaleur et de convivialit\u0026eacute;, est une repr\u0026eacute;sentation arch\u0026eacute;typale d\u0026rsquo;un \u0026laquo;\u0026nbsp;lieu\u0026nbsp;\u0026raquo; et ne peut offrir de sentiment de s\u0026eacute;curit\u0026eacute;. L\u0026rsquo;\u0026oelig;uvre suscite au contraire un sentiment de vide. Par \u0026laquo;\u0026nbsp;atopie\u0026nbsp;\u0026raquo;, qui signifie litt\u0026eacute;ralement \u0026laquo;\u0026nbsp;non-lieu\u0026nbsp;\u0026raquo; (a privatif +\u0026nbsp;\u003cem\u003etopos\u003c/em\u003e =\u0026nbsp;lieu en grec), Vercruysse renvoie au th\u0026egrave;me r\u0026eacute;current dans son \u0026oelig;uvre de la place de l\u0026rsquo;art dans le monde. Le titre est en m\u0026ecirc;me temps un jeu de mots avec \u0026laquo;\u0026nbsp;utopie\u0026nbsp;\u0026raquo;, le monde des id\u0026eacute;aux. Peut-\u0026ecirc;tre Vercruysse sugg\u0026egrave;re-t-il que pour l\u0026rsquo;utopie aussi il ne reste plus que le vide\u0026nbsp;?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026laquo;\u0026nbsp;Bien entendu qu\u0026rsquo;il s\u0026rsquo;agit de l\u0026rsquo;art et de la place de l\u0026rsquo;art. Dire que c\u0026rsquo;est une m\u0026eacute;taphore pour dire qu\u0026rsquo;il ne reste pas de place serait exag\u0026eacute;r\u0026eacute;. \u0026ldquo;Rester\u0026rdquo; est un terme trop fort. Il s\u0026rsquo;agit certainement de perte, mais cela ne signifie pas qu\u0026rsquo;il ne \u0026ldquo;reste\u0026rdquo; plus de place. Ce n\u0026rsquo;est pas une complainte. La perte pr\u0026eacute;c\u0026egrave;de la pr\u0026eacute;sence.\u0026nbsp;\u0026raquo; Jan Vercruysse interview\u0026eacute; par Carolyn Christov-Bakargiev, 1987.\u003c/p\u003e\r\n"}]},{"id":4369,"title":"L'Art A L'Envers. De Kunst Omgekeerd. American Art in Belgium","dimensions":"88 x 58 cm","date_begin":"1977-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eProtest poster with text in Dutch and French\u003c/p\u003e\r\n","date_end":null,"reference":"M00087","stream_count_app":14,"permalink":"l-art-a-l-envers-de-kunst-omgekeerd-american-art-in-belgium","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/926/medium_500/JV__L%27Art_A_L%27Envers._De_Kunst_Omgekeerd._American_Art_in_Belgium__1977.jpg?1665051007","cached_actor_names":"Jan Vercruysse","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/000/087/926/large/JV__L'Art_A_L'Envers._De_Kunst_Omgekeerd._American_Art_in_Belgium__1977.jpg?1665051007","poster_credits":" © Jan Vercruysse. Image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4367,"title":"Places (III.5)","dimensions":"130 x 78 x 1.5 cm","date_begin":"2006-01-01","material":"galvanized steel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7587","stream_count_app":31,"permalink":"places-iii-5","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jan Vercruysse","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/000/013/342/large/BK7587.jpg?1354022512","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eThroughout the series *Places*, Vercruysse uses the universally recognizable symbols of playing cards. For the third group of works within the series, of which *Places (III.5)* is part, Vercruysse designed a usable, legible script based on the card symbols. These works carry actual textual inscriptions, and seem strikingly communicative in the context of Vercruysse\u0026#39;s otherwise enigmatic oeuvre. Nonetheless, *Places (III.5)* does not lend itself to a quick reading either. A transcription to our own alphabet leaves us with the text \u0026quot;I AM\u0026quot; on the left panel, and \u0026quot;Here / -- / AND IS\u0026quot; on the right; cryptic, poetic texts with minimal concrete content. They clearly reflect Vercruysse\u0026#39;s past as a writer and visual poet, but provide few clues for further interpretation. Again, it is not about the content of the words, but about the possibility of content the words provide.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDoorheen de reeks *Places* gebruikt Vercruysse de algemeen herkenbare symbolen van het kaartspel. Voor de derde groep werken binnen *Places*, waar *Places (III.5)* onderdeel van uitmaakt, ontwierp Vercruysse een bruikbaar, leesbaar schrift op basis van de kaartsymbolen. Deze werken dragen dan ook daadwerkelijk tekstuele opschriften, en lijken opvallend communicatief in de context van Vercruysses anders zo enigmatische oeuvre. Toch laat ook *Places (III.5)* zich niet gemakkelijk lezen. Een transcriptie naar ons eigen alfabet geeft de tekst \u0026ldquo;I AM\u0026rdquo; op het linkerpaneel, en \u0026ldquo;HERE / -- /AND IS\u0026rdquo; op het rechter; cryptische, po\u0026euml;tische teksten met een minimale concrete inhoud. Ze reflecteren duidelijk Vercruysses verleden als dichter en visueel po\u0026euml;et, maar verschaffen weinig aanknopingspunten voor verdere interpretatie. Het gaat hier niet om de inhoud van de woorden, maar om de mogelijkheid tot inhoud die de woorden verschaffen.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":4309,"title":"Cinéma Cinéma","dimensions":"68 x 98 cm","date_begin":"1991-01-01","material":"paper Vélin d'Arches","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset in 4 colours, V\u0026eacute;lin d\u0026#39;Arches 35/50\u003c/p\u003e\r\n","date_end":null,"reference":"BK006093","stream_count_app":17,"permalink":"cinema-cinema","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/722/large/Vercruysse__Jan__Cinema_cinema_.jpg?1343635089","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4318,"title":"Extrait de Journal (1e 5 avril 1984)","dimensions":" 50 x 67 cm","date_begin":null,"material":"pape (Japanese)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset on Japanese Paper 22/50\u003c/p\u003e\r\n","date_end":null,"reference":"BK006097","stream_count_app":16,"permalink":"extrait-de-journal-1e-5-avril-1984","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 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37/55\u003c/p\u003e\r\n","date_end":"1988-01-01","reference":"BK006099","stream_count_app":15,"permalink":"the-art-of-typewriting","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/759/large/Vercruysse__Jan__The_Art_of_Typewriting__1989-1990.jpg?1343641349","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4330,"title":"Diwan","dimensions":"2 x (88 x 44.5)","date_begin":"1987-01-01","material":"paper (Vélin d'Arches)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset in 4 colours, V\u0026eacute;lin d\u0026#39;Arches, 40 editions, diptych\u003c/p\u003e\r\n","date_end":"1990-01-01","reference":"BK006100","stream_count_app":15,"permalink":"diwan","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/757/large/Vercruysse__Jan__Diwan__1987-1990.jpg?1343641179","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4336,"title":"Phryne","dimensions":"50.6 x 76.2 cm","date_begin":"1992-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset 11/44\u003c/p\u003e\r\n","date_end":null,"reference":"BK006091-008","stream_count_app":13,"permalink":"phryne","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 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35/50\u003c/p\u003e\r\n","date_end":null,"reference":"BK006092","stream_count_app":15,"permalink":"moderne","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/750/large/Vercruysse__Jan__Moderne__1993.jpg?1343639793","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4356,"title":"Helena","dimensions":"50.6 x 76.2 cm","date_begin":"1992-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset 11/44\u003c/p\u003e\r\n","date_end":null,"reference":"BK006091-005","stream_count_app":13,"permalink":"helena","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 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copies\u003c/p\u003e\r\n","date_end":"1989-01-01","reference":"BK006088","stream_count_app":15,"permalink":"narcisse","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/749/large/Vercruysse__0023_Jan__Narcisse__1990.jpg?1343639618","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4307,"title":"La Feinte [The Sham]","dimensions":"220 x 180 x 130 cm","date_begin":"1982-01-01","material":"wood, iron, marbles","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK006855","stream_count_app":43,"permalink":"la-feinte-the-sham","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 Vercruysse","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/000/032/898/large/Vercruysse__Jan__La_feinte__1982.jpg?1471874526","poster_credits":"image: (c) M HKA, Collectie M HKA, Collectie Vlaamse Gemeenschap","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eLa Feinte\u003c/em\u003e\u0026nbsp;is part of a long series of portrait photographs commonly referred to as \u003cem\u003ePortraits of the Artist\u003c/em\u003e, which Vercruysse made between 1977 and 1984. These carefully staged photographs are printed reproductions with a circulation of only one: in this way, Vercruysse challenges the reproducibility of the image in photography. In many of the portraits of this series, including \u003cem\u003eLa Feinte\u003c/em\u003e, Vercruysse himself is the model. His measured pose and the well-considered composition refer to the conventions of traditional portraiture. Nonetheless, this is not a traditional self-portrait: the image is fractured, as if it were the reflection of a broken mirror. Moreover, the frame surrounding the portrait suggests that we are looking at a photo of a photo. This work is a sophisticated structure, in which the artist merely seems a background actor. This might be a portrait of \u0026#39;the artist\u0026#39;, but is it a portrait of Jan Vercruysse? With \u003cem\u003eLa Feinte\u003c/em\u003e, Vercruysse explores the boundary between still life and portraiture, as well as the role of the artist in his work.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eLa Feinte\u003c/em\u003e\u0026nbsp;maakt deel uit van een lange fotografische portrettenreeks, die Vercruysse tussen 1977 en 1984 maakte. Deze zorgvuldig ge\u0026euml;nsceneerde portretten zijn gedrukte reproducties met een enkelvoudige oplage: op deze manier tart Vercruysse met de reproduceerbaarheid van het beeld binnen de fotografie. Op veel van de portretten in de reeks, waaronder \u003cem\u003eLa Feinte\u003c/em\u003e, poseert Vercruysse zelf. Met zijn afgemeten pose en de doordachte compositie refereert hij aan conventies van de traditionele portretkunst. Toch is dit geen traditioneel zelfportret: de afbeelding is verknipt, als de reflectie van een gebroken spiegel. De omlijsting doet bovendien vermoeden dat we een foto van een foto zien. Het werk is een uitgekiende constructie, waarin de kunstenaar enkel een figurant lijkt te zijn. Dit mag dan een foto zijn van \u0026#39;de kunstenaar\u0026#39;, maar is het ook een foto van Jan Vercruysse? Met \u003cem\u003eLa Feinte\u003c/em\u003e\u0026nbsp;verkent Vercruysse de grenzen tussen stilleven en portret, alsmede de rol van de kunstenaar in diens werk.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eLa Feinte\u003c/em\u003e fait partie d\u0026rsquo;une longue s\u0026eacute;rie de portraits photographiques que Jan Vercruysse a r\u0026eacute;alis\u0026eacute;s entre\u0026nbsp;1977 et\u0026nbsp;1984. Ces portraits minutieusement mis en sc\u0026egrave;ne sont des reproductions \u0026eacute;dit\u0026eacute;es en tirage unique\u0026nbsp;: Vercruysse d\u0026eacute;fie de la sorte la reproductibilit\u0026eacute; de l\u0026rsquo;image au sein de la photographie. Vercruysse en personne pose sur bon nombre de portraits dans la s\u0026eacute;rie, dont \u003cem\u003eLa Feinte\u003c/em\u003e. Avec sa pose bien mesur\u0026eacute;e et sa composition r\u0026eacute;fl\u0026eacute;chie, Vercruysse fait r\u0026eacute;f\u0026eacute;rence aux conventions de l\u0026rsquo;art du portrait traditionnel. Il ne s\u0026rsquo;agit pourtant pas d\u0026rsquo;un autoportrait classique\u0026nbsp;: l\u0026rsquo;image est fragment\u0026eacute;e, comme la r\u0026eacute;flexion d\u0026rsquo;un miroir bris\u0026eacute;. L\u0026rsquo;encadrement donne par ailleurs l\u0026rsquo;impression qu\u0026rsquo;il s\u0026rsquo;agit de la photographie d\u0026rsquo;une photographie. L\u0026rsquo;\u0026oelig;uvre est une construction bien \u0026eacute;tudi\u0026eacute;e, dans laquelle l\u0026rsquo;artiste ne semble \u0026ecirc;tre qu\u0026rsquo;un figurant. Il va sans dire que c\u0026rsquo;est une photographie de \u0026laquo;\u0026nbsp;l\u0026rsquo;artiste\u0026nbsp;\u0026raquo;, mais est-ce \u0026eacute;galement une photographie de Jan Vercruysse\u0026nbsp;? Avec \u003cem\u003eLa Feinte, Vercruysse explore les fronti\u0026egrave;res entre la nature morte et le portrait ainsi que le r\u0026ocirc;le de l\u0026rsquo;artiste dans son \u0026oelig;uvre.\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":4308,"title":"Je veux bien","dimensions":"","date_begin":"1991-01-01","material":"paper (Vélin d'Arches)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset in 4 colours, V\u0026eacute;lin d\u0026#39;Arches 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Pour la Vie","dimensions":"10.1 x 51 cm","date_begin":"1975-01-01","material":"paper (Vélin d'Arches)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset in 4 colours, V\u0026eacute;lin d\u0026#39;Arches 41/50\u003c/p\u003e\r\n","date_end":"1990-01-01","reference":"BK006095","stream_count_app":14,"permalink":"a-valerie-pour-la-vie","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/720/large/Vercruysse__Jan__A_Valerie_pour_la_vie__1975-1990.jpg?1343634663","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4331,"title":"Alice","dimensions":" 50.6 x 76.2 cm","date_begin":"1992-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset 11/44\u003c/p\u003e\r\n","date_end":null,"reference":"BK006091-009","stream_count_app":13,"permalink":"alice","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/756/large/Vercruysse__0024_Jan___Alice__1992_photo_clinckx.jpg?1343640949","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4344,"title":"Les Paroles (III)","dimensions":"130 x 220 x 180 cm","date_begin":"1994-01-01","material":"wood, iron, paint","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"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":"BK006079","stream_count_app":51,"permalink":"les-paroles-iii","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eLes Paroles (III) \u003c/em\u003e(dt. Die W\u0026ouml;rter (III)) ist ein Teil von der Serie\u003cem\u003e Les Paroles\u003c/em\u003e, hergestellt zwischen 1993 und 1998 von Jan Vercruysse Was immer zur\u0026uuml;ckkommt in dieser Serie ist der Stuhl, der in allerlei Kompositionen auf und neben Tischen und anderen Erh\u0026ouml;hungen aufgestellt wird, zusammen mit Materialien wie Flaschen, Murmeln, und Glas. Wie der Titel der Serie (\u0026lsquo;die W\u0026ouml;rter\u0026rsquo;) schon vermuten l\u0026auml;sst, werden Themen wie Sprache und Rhetorik, die schon wichtig waren f\u0026uuml;r seine vielen Werke auf Papier, hier introduziert in Vercruysses skulpturalem Werk. Die St\u0026uuml;hle und Vertikalkompositionen von \u003cem\u003eLes Paroles (III)\u003c/em\u003e geben den Eindruck einer Rednerb\u0026uuml;hne.\u0026nbsp;Der Stuhl ist aber leer. Wiederum zeigt Vercruysse also eine Abwesenheit, in diesem Fall die Abwesenheit einer Stimme, eines Gespr\u0026auml;chs oder eines Diskurses. Zugleich schafft Vercruysse mit \u003cem\u003eLes Paroles (III)\u003c/em\u003e einen Ort, wo Raum ist f\u0026uuml;r das Wort. Die leere Rednerb\u0026uuml;hne impliziert die M\u0026ouml;glichkeit zur Sprache.\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/000/011/752/medium_500/Vercruysse__Jan__Les_Paroles_%28III%29__1993._JPG.JPG?1343640464","cached_actor_names":"Jan Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/752/large/Vercruysse__Jan__Les_Paroles_%28III%29__1993._JPG.JPG?1343640464","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eLes Paroles (III) \u003c/em\u003e[the words]\u0026nbsp;is part of the series \u003cem\u003eLes Paroles\u003c/em\u003e, which Jan Vercruysse created between 1993 and 1998. The recurring element in this series is the chair, which is placed on and next to tables and other pedestals in different compositions along with materials like bottles, marbles and glass. As the title of the series (\u0026#39;the words\u0026#39;) suggests, themes like language and rhetoric, which had already been prominent in his works on paper, are now introduced in Vercruysse\u0026#39;s sculptural work. The chairs and vertical composition of \u003cem\u003eLes Paroles (III)\u003c/em\u003e\u0026nbsp;give the impression of a pulpit or podium. However, the chair is empty. Again, Vercruysse is showing absence, this time absence of a voice, a conversation or a discourse. At the same time, though, Vercruysse creates a place with room for the (spoken) word. The empty pulpit implies the possibility of speech.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eLes Paroles (III)\u003c/em\u003e\u0026nbsp;is onderdeel van de reeks \u003cem\u003eLes Paroles\u003c/em\u003e, die Jan Vercruysse tussen 1993 en 1998 vervaardigde. Constante in deze reeks is de stoel, die in allerhande composities op en naast tafels en andere verhogingen wordt gezet tezamen met materialen als flessen, knikkers en glas. Zoals de titel van de reeks (\u0026lsquo;de woorden\u0026rsquo;) al doet vermoeden, doen thema\u0026rsquo;s als taal en retoriek, die al belangrijk waren voor zijn vele werken op papier, hier hun intrede in Vercruysses sculpturale werk. De stoelen en verticale compositie van \u003cem\u003eLes Paroles (III)\u003c/em\u003e\u0026nbsp;geven de indruk van een spreekgestoelte. De stoel is echter leeg. Opnieuw toont Vercruysse dus een afwezigheid, in dit geval van een stem, een gesprek of een discours. Tegelijkertijd schept Vercruysse met \u003cem\u003eLes Paroles (III)\u003c/em\u003e\u0026nbsp;een plek waar ruimte is voor het woord. Het lege spreekgestoelte impliceert de mogelijkheid tot spraak.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eLes Paroles (III)\u003c/em\u003e fait partie de la s\u0026eacute;rie \u003cem\u003eLes Paroles\u003c/em\u003e que Jan Vercruysse a produite entre\u0026nbsp;1993 et\u0026nbsp;1998. Une constante dans cette s\u0026eacute;rie est la chaise, que l\u0026rsquo;on retrouve dans toutes sortes de compositions, sur et \u0026agrave; c\u0026ocirc;t\u0026eacute; de tables et autres rehaussements sur lesquels sont pos\u0026eacute;s des mat\u0026eacute;riaux comme des bouteilles, des billes et du verre. Comme le sugg\u0026egrave;re le titre de la s\u0026eacute;rie, des th\u0026egrave;mes comme la langue et la rh\u0026eacute;torique, d\u0026eacute;j\u0026agrave; importants dans bon nombre de ses \u0026oelig;uvres sur papier, apparaissent ici dans le travail sculptural de Vercruysse. Les chaises et les compositions verticales dans \u003cem\u003eLes Paroles (III)\u003c/em\u003e suscitent l\u0026rsquo;impression d\u0026rsquo;une tribune. La chaise est cependant vide. Une fois de plus, Vercruysse montre une absence, en l\u0026rsquo;occurrence celle d\u0026rsquo;une voix, d\u0026rsquo;un dialogue ou d\u0026rsquo;un discours. En m\u0026ecirc;me temps, Vercruysse cr\u0026eacute;e avec \u003cem\u003eLes Paroles (III) \u003c/em\u003eun lieu qui g\u0026eacute;n\u0026egrave;re de l\u0026rsquo;espace pour le mot\u0026nbsp;; la tribune vide implique la possibilit\u0026eacute; de la parole.\u003c/p\u003e\r\n"}]},{"id":4353,"title":"Atalanta","dimensions":"50.6 x 76.2 cm","date_begin":"1992-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset 11/44\u003cbr /\u003e\r\nDe prent \u003cstrong\u003e\u0026#39;Atalante\u0026#39;\u003c/strong\u003e toont de naam van genoemde mythische figuur op een tijdschriftomslag. Offsetdruk op V\u0026eacute;lin d\u0026#39;Arches, ex. 11/44.\u003c/p\u003e\r\n","date_end":null,"reference":"BK006091-002","stream_count_app":13,"permalink":"atalanta","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/746/large/Vercruysse__0026_Jan__Atalante__1992_photo_clinckx.jpg?1343639014","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4354,"title":"Beatrice","dimensions":"50.6 x 76.2 cm","date_begin":null,"material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset 11/44\u003c/p\u003e\r\n","date_end":null,"reference":"BK006091-003","stream_count_app":13,"permalink":"beatrice","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/745/large/Vercruysse__0027_Jan__Beatrice_1992_photo_clinckx.jpg?1343638877","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4355,"title":"Cleopatra","dimensions":"50.6 x 76.2 cm","date_begin":"1992-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset 11/44\u003c/p\u003e\r\n","date_end":null,"reference":"BK006091-004","stream_count_app":15,"permalink":"cleopatra","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/744/large/Vercruysse__0028_Jan__Cleopatra__1992_photo_clinckx.jpg?1343638780","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4310,"title":"Agnes Sorel ou les Avant-Gardes","dimensions":"89 x 58 cm","date_begin":"1988-01-01","material":"paper (Vélin d'Arches)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset in 4 colours, V\u0026eacute;lin d\u0026#39;Arches 35/50\u003c/p\u003e\r\n","date_end":null,"reference":"BK006094","stream_count_app":20,"permalink":"agnes-sorel-ou-les-avant-gardes","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/721/large/Vercruysse__Jan__Agnes_Sorel_ou_les_avant-gardes__1988.jpg?1343634781","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4361,"title":"Sic","dimensions":"57 x 73 cm","date_begin":"1975-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset\u003c/p\u003e\r\n","date_end":null,"reference":"BK7486_M338","stream_count_app":15,"permalink":"sic","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/741/large/Vercruysse__Jan__Sic__1975__photo_MuHKA_clinckx_9.jpg?1343638421","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4360,"title":"M (M1)","dimensions":"54 x 200 x 155 cm","date_begin":"1992-01-01","material":"wood, gypsum, blue glass, white pigment","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK006023","stream_count_app":53,"permalink":"m-m1","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/740/medium_500/MM1.jpg?1465915355","cached_actor_names":"Jan Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/740/large/MM1.jpg?1465915355","poster_credits":"(c)image: M HKA, © SABAM Belgium 2018","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eWe recognise a piano as a musical instrument, but the artist only shows the illusion that we make of it ourselves. The piano is not only unplayable; it is not even a piano. It is only there in a formal sense, as a psychic \u003cem\u003egestalt\u003c/em\u003e that confounds the viewer. The reflective blue surface that lies on top of the piano, subverting its piano-ness, reflects the surroundings of the museum and every curious gaze. Luc Tuymans points to the whitewashed purity of this silent composition, which is disturbed by the brutality of the blue glass. The piano is placed freestanding on the floor, between the vertical fire drawings of Tretiakoff and the stately Caravaggio.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nText: Hans Willemse\u003cbr /\u003e\r\nTranslations: Michael Meert\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eWe herkennen een piano als muziekinstrument, maar Jan Vercruysse toont slechts de illusie die we er zelf van maken. De piano is niet alleen onbespeelbaar, ze is zelfs geen piano. Ze is er slechts voor de vorm, als een psychische \u003cem\u003egestalt \u003c/em\u003ewaar de kijker zich op blindstaart. Het spiegelende blauwe oppervlak waarmee het piano-zijn definitief wordt afgesloten, weerkaatst de museale buitenwereld en elke nieuwsgierige blik. Luc Tuymans wijst op de witgeschilderde maagdelijkheid van deze verstilde compositie, die verstoord wordt door de brutaliteit van het blauwe glas. De piano staat vrij in de ruimte op de vloer, tussen de verticale brandtekeningen van Tretiakoff en de statigheid van Caravaggio.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTekst: Hans Willemse\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eNous reconnaissons un piano que nous consid\u0026eacute;rons comme un instrument de musique, mais l\u0026rsquo;artiste ne montre que l\u0026rsquo;illusion que nous nous en faisons. Le piano est non seulement injouable, ce n\u0026rsquo;est m\u0026ecirc;me pas un piano. Il n\u0026rsquo;est l\u0026agrave; que pour la forme, comme apparence psychique qui attire l\u0026rsquo;attention du spectateur. La surface bleue r\u0026eacute;fl\u0026eacute;chissante qui recouvre l\u0026rsquo;objet et supprime d\u0026eacute;finitivement la nature pianistique de l\u0026rsquo;objet refl\u0026egrave;te le monde mus\u0026eacute;al ext\u0026eacute;rieur et chaque regard curieux. Luc Tuymans pointe la blancheur virginale de cette composition sereine que vient troubler la brutalit\u0026eacute; du verre bleu. Le piano est pos\u0026eacute;, dans l\u0026rsquo;espace, \u0026agrave; m\u0026ecirc;me le sol, entre les dessins br\u0026ucirc;l\u0026eacute;s de Tretiakoff et la majest\u0026eacute; d\u0026rsquo;un tableau du Caravage.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTexte: Hans Willemse\u003cbr /\u003e\r\nTraductions: Isabel Grynberg\u003c/p\u003e\r\n"}]},{"id":4334,"title":"Dans l'air","dimensions":"45.5 x 36 cm","date_begin":null,"material":"paper (Moulin du Gué)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset in 2 colours, Moulin du Gu\u0026eacute; 32/330\u003c/p\u003e\r\n","date_end":null,"reference":"BK006102","stream_count_app":13,"permalink":"dans-l-air","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 Vercruysse","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/000/015/587/large/Vercruysse__Jan__Dans_L'air__1989.jpg?1363787748","poster_credits":"(c)M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":6977,"title":"Jan Vercruysse","dimensions":"29.7 x 21 cm, language : Dutch, French, publisher : ICC/Internationaal Cultureel Centrum, Antwerpen","date_begin":"1978-01-01","material":"Ink, paper","short_description":"\u003cp\u003eICC publication.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditor : Jan Vercruysse.\u003c/p\u003e\r\n\r\n\u003cp\u003eExhibition : ICC/Internationaal Cultureel Centrum, Antwerpen (14.10. - 12.11.1978).\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Artist publication ; Artist catalogue ; Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1998/90","stream_count_app":17,"permalink":"jan-vercruysse","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 Vercruysse","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/000/015/766/large/DSC_5117.jpg?1366281271","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4320,"title":"Fontaine/Lustre","dimensions":"750 x 480 mm","date_begin":"1991-01-01","material":"ink, paper (Vélin d'Arches)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset in 4 colours, V\u0026eacute;lin d\u0026#39;Arches 38/50\u003c/p\u003e\r\n","date_end":null,"reference":"BK006098","stream_count_app":23,"permalink":"fontaine-lustre","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/717/large/Vercruysse__Jan__Fontaine_Lustre__1990.jpg?1343634227","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eFontaine/Lustre [\u003c/em\u003eFountain/Sheen] is a printed photo reproduction showing a detail of a fountain [left]. The picture [four-color] was reversed and printed in black and white [right], which creates a strong contrast. This is emphasized by the text and the many puns contained herein. By playing with meaning the artist emphasizes\u0026nbsp;also certain elements as the reversal and the verticality of the two photos.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe work is part of a series of prints that Jan Vercruysse made between 1975 and 1991. It is always about books and catalogs that may be considered in itself a work of art. The prints are a form of visual poetry, actually a youth activity of the artist. All elements are as always prepared with the utmost care and have an enigmatic character.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn his work alludes Vercruysse often on art history, but he leaves the interpretation open to suggestion. He points photography as reproduction from reality, the works are reproductions of itself.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eFontaine/Lustre\u003c/em\u003e is een gedrukte fotoreproductie waarin een detail te zien is van een fontein [links]. De foto [in vierkleurendruk] werd omgedraaid en afgedrukt in zwart wit [rechts], waardoor een sterke contrastwerking ontstaat. Deze wordt benadrukt door de tekst en de vele woordspelingen die erin voorkomen. Door het spelen met betekenis benadrukt de kunstenaar ook bepaalde elementen als de omkering en de verticaliteit van beide foto\u0026rsquo;s.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet werk maakt deel uit van een reeks prints die Jan Vercruysse maakte tussen 1975 en 1991. Het gaat steeds om boeken en catalogi die als een kunstwerk op zich mogen worden beschouwd. De prints zijn een vorm van visuele po\u0026euml;zie, eigenlijk een jeugdactiviteit van de kunstenaar. Alle elementen zijn zoals altijd opgesteld met de grootste zorg en hebben een enigmatisch karakter.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn zijn werken alludeert Vercruysse vaak op de kunstgeschiedenis, maar de interpretatie laat hij open voor suggestie. Hij wijst de fotografie als reproductie van de werkelijkheid af, de werken worden reproducties van zichzelf.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":7060,"title":"De Reconstructie van Kamer (III) [The Reconstruction of Room (III)]","dimensions":"","date_begin":"2010-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":37,"permalink":"de-reconstructie-van-kamer-iii-the-reconstruction-of-room-iii","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/000/016/045/large/P1010153.JPG?1365591836","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"During the exhibition *Twee Uur Breed of Twee Uur Lang - Fascinerende Fascetten van Vlaanderen, 58/98* [Two Hours Wide or Two Hours Long - Fascinating Aspects of Flanders, 58/98] in the Royal Museum of Fine Arts Antwerp in 1999, Jan Vercruysse's *Room (III)* was damaged to such an extent that the artist himself declared the work irreparable. Because of the importance of the work within Vercruysse's oeuvre, and as a key work within the recent art history of Flanders, it was desirable to renovate *Room (III)*. With support of the Flemish Community, M HKA decided to collaborate with Jan Vercruysse to create a completely new version of *Room (III)*. The new version was to be constructed with some radical changes to the technical structure of the work, making the Room less vulnerable to damage in the future. \r\n\r\nThe elaborate reconstruction of *Room (III)* tells us much about Jan Vercruysse's artistic vision. In principle, his works are about their underlying concepts, but he also needs an intricate material precision to guarantee their formal appearance. The fabrication of many of his sculptures is reliant on industrial processes that require specialized know-how. To achieve a perfect execution, Vercruysse often calls on third parties for the material construction of his works. "},{"locale":"nl","description":"Tijdens de tentoonstelling *Twee Uur Breed of Twee Uur Lang - Fascinerende Facetten van Vlaanderen, 58/98* in het Koninklijk Museum voor Schone Kunsten in 1999 raakte Jan Vercruysses *Kamer (III)* ernstig beschadigd. Zo ernstig, dat Vercruysse zelf het werk onherstelbaar verklaarde. Vanwege het belang van het werk binnen het oeuvre van Vercruysse, en als sleutelwerk binnen de recente kunsthistorie van Vlaanderen, was het wenselijk om *Kamer (III)* in ere te herstellen. Het M HKA besloot daarom in samenwerking met de kunstenaar en met steun van de Vlaamse Gemeenschap over te gaan tot de fabricatie van een compleet nieuwe uitvoering van *Kamer (III)*. Deze nieuwe versie ging gepaard met ingrijpende veranderingen in de technische structuur van het werk, waardoor het in de toekomst minder kwetsbaar voor beschadigingen zou worden. \r\n\r\nDe uitgebreide reconstructie van *Kamer (III)* zegt veel over Jan Vercruysses artistieke visie. Bij Jan Vercruysse is het het concept  waar het om gaat, maar dit bevat ook een vergaande materiaalprecisie om de verschijningsvorm te garanderen. Vaak ligt aan het maken van zijn sculpturen een industrieel proces ten grondslag waar veel vakkennis voor nodig is. Om een perfecte uitvoering te bewerkstelligen, doet Vercruysse daarom geregeld een beroep op derden voor de materiele productie van de werken. \r\n"},{"locale":"fr","description":""}]},{"id":4351,"title":"Baudrillards are dollars","dimensions":"68.5 x 98 cm","date_begin":"1988-01-01","material":"paper (Vélin d'Arches)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset, V\u0026eacute;lin d\u0026#39;Arches 37/50\u003c/p\u003e\r\n","date_end":null,"reference":"BK006090","stream_count_app":19,"permalink":"baudrillards-are-dollars","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/748/large/Vercruysse__Jan__Baudrillards_are_dollars__1988.jpg?1343639426","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14332,"title":"Rosa, Rosa, Rosae, Rosae, Rosam, Rosa / Rota","dimensions":"","date_begin":"1983-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Verzameling F. De Beir","cached_tag_list":"Jan Vercruysse","publishing_process_id":1,"annotation":"\u003cp\u003eWerk in vijf delen. A en B: zeefdruk op doek, elk 50 x 40 cm - ingelijst; C: fotolithodruk op papier, 60 x 57 cm - ingelijst; D: lege lijst, 73 x 100 cm; E: spiegel, 81 x 60 cm - ingelijst.\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":26,"permalink":"rosa-rosa-rosae-rosae-rosam-rosa-rota","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/901/large/2016_12.jpg?1475755427","poster_credits":"Image: (c) M HKA, Collectie M HKA, Collectie Vlaamse Gemeenschap","translations":[{"locale":"en","description":"\u003cp\u003eIn this series of images within the larger \u003cem\u003ePortraits of the Artist \u003c/em\u003eseries, Jan Vercruysse uses the declension of the Latin word \u0026ldquo;rosa\u0026rdquo; next to the word \u0026ldquo;rota\u0026rdquo;, which means wheel of fortune or fate.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe work consists of five parts: two framed prints on canvas, a framed photolithographic on paper, an empty frame and a framed mirror.\u003c/p\u003e\r\n\r\n\u003cp\u003eEach individual element is framed, giving the elements a defined space. The use of frames plays an important part in the making of an image. By using various frames, sometimes multiple frames in one frame, several stratifications can be made apparent. \u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn deze reeks, die deel uitmaakt van de reeks \u003cem\u003ePortretten van de Kunstenaar\u003c/em\u003e, gebruikt Jan Vercruysse de declinatie van het Latijnse woord \u0026ldquo;rosa\u0026rdquo; naast het woord \u0026ldquo;rota\u0026rdquo;, dat rad van fortuin of het lot betekent.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet werk bestaat uit vijf onderdelen: twee ingelijste zeefdrukken op doek, een ingelijste fotolithografie op papier, een lege lijst en een ingelijste spiegel.\u003c/p\u003e\r\n\r\n\u003cp\u003eElk element is afzonderlijk ingelijst, waardoor ze elks een afgelijnde ruimte omvatten. Het gebruik van lijsten speelt een cruciale rol bij het maken van een beeld. Door verschillende lijsten te gebruiken, soms zelfs meerdere lijsten in een lijst, kunnen meerdere lagen worden onthuld.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDans cette s\u0026eacute;rie d\u0026rsquo;images, qui fait elle-m\u0026ecirc;me partie de la s\u0026eacute;rie plus vaste intitul\u0026eacute;e \u003cem\u003ePortraits of the Artist\u003c/em\u003e, Jan Vercruysse utilise la d\u0026eacute;clinaison du mot latin \u003cem\u003erosa\u003c/em\u003e \u0026agrave; c\u0026ocirc;t\u0026eacute; du mot \u003cem\u003erota\u003c/em\u003e, qui signifie roue de la fortune ou destin.\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;\u0026oelig;uvre se compose de cinq parties\u0026nbsp;: deux tirages sur toile, encadr\u0026eacute;s, une photolithographie sur papier, encadr\u0026eacute;e, un cadre vide et un miroir encadr\u0026eacute;.\u003c/p\u003e\r\n\r\n\u003cp\u003eChaque \u0026eacute;l\u0026eacute;ment individuel est encadr\u0026eacute;, ce qui donne aux \u0026eacute;l\u0026eacute;ments un espace d\u0026eacute;fini. L\u0026rsquo;utilisation de cadres joue un r\u0026ocirc;le important dans la cr\u0026eacute;ation d\u0026rsquo;une image. Par l\u0026rsquo;usage de cadres vari\u0026eacute;s, parfois de multiples cadres dans un cadre, plusieurs stratifications peuvent devenir apparentes.\u003c/p\u003e\r\n"}]},{"id":6985,"title":"9 ontwerpen voor het omslag van een tijdschrift in 8+1 afleveringen","dimensions":"","date_begin":"1992-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK006091","stream_count_app":30,"permalink":"9-ontwerpen-voor-het-omslag-van-een-tijdschrift-in-8-1-afleveringen","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 Vercruysse","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/000/015/996/large/8_1.jpg?1365407114","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e*9 designs for the cover of a magazine in 8 + 1 installments* is a series of graphics consisting of nine prints, all named after a well-known woman. Some are mythological (Aphrodite, Atalanta, Helen, Phryne), some biblical (Judith), some classic-historical (Cleopatra), some literary-historic (Beatrice) and some kabbalistic (Lilith). They are all strong personalities who in their own way shaped the course of history, and who are popular subjects within the history of art. Last in row is Lewis Carroll\u0026#39;s Alice. Her cover design sits lower on the wall than those of the illustrious women who precede her. Characteristically for Vercruysse\u0026#39;s oeuvre, central to *8+1* appear to be its sheer formal qualities. Apart from the image of the designs themselves, which vary in lay-out and paper type depending on the name in question, the series does not contain clues for further interpretation. Vercruysse literally presents the empty shell of a potential channel of communication. As with his other printed works, like his series of [*Portraits of the Artist*](http://ensembles.mhka.be/items/la-feinte), he stimulates our imagination without satisfying our curiosity. It is perhaps for this reason that Alice gets a special treatment: her story is about embracing uncertainties and riddles, without necessarily reaching definitive answers.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDeze reeks grafische werken bestaat uit negen prenten, die alle de naam dragen van een vrouw. Het gaat om mythologische (Aphrodite, Atalante, Helena, Phryne), bijbelse (Judith), klassiek-historische (Cleopatra), literair-historische (Beatrice) en kabbalistische vrouwfiguren (Lilith); sterke persoonlijkheden die op hun eigen manier de loop van de geschiedenis mede vormgaven, en allen populaire onderwerpen binnen de kunstgeschiedenis zijn. De rij wordt afgesloten door Alice van Lewis Carroll. Haar omslagontwerp hangt een fractie lager dan die van de illustere vrouwen die haar voorgingen. Typisch voor het oeuvre van Vercruysse lijkt de pure vormelijke kwaliteit van *8+1* centraal te staan. Buiten het beeld van de ontwerpen zelf, steeds wat betreft vormgeving en papiersoort aangepast aan de vrouwennaam in kwestie, bevat de reeks geen inhoudelijke aanknopingspunten voor interpretatie. Vercruysse presenteert letterlijk de lege huls van een potentieel kanaal voor communicatie. Net als met bijvoorbeeld zijn *Portretten van de Kunstenaar* weet hij onze verbeelding te stimuleren zonder onze nieuwsgierigheid te bevredigen. Misschien dat Alice daarom een aparte behandeling krijgt: haar verhaal draait om het omarmen van onzekerheden en raadsels, zonder tot definitieve antwoorden te moeten (en kunnen) komen.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":4306,"title":"Kamer (III) [Chamber (III)]","dimensions":"390 x 170 x 250 cm","date_begin":"1985-01-01","material":"wood, mirror, neon lamp","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Sculpture","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK005214","stream_count_app":48,"permalink":"kamer-iii-chamber-iii","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/725/large/Vercruysse__Jan__Kamer_III__1985Heirman_Graphics.jpg?1343635565","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThe rooms of Jan Vercruysse occupy a place within the tradition of the \u0026ldquo;art room\u0026rdquo;, the theme in western history of art for reflecting upon art. They are works of art that imply art. These boxlike constructions, these places of worship are approached with specific expectations. Strict, monumental and seemingly sumptuous with their mahogany covering, it is as if they have been stolen from a sacristy, an impression which is further enchanced by the semidark interior where stairs lead to a mirror surface that only reflects a void. Isolated from the surrounding space and devoid of all specific timeliness, they are a staged collection of signs that have a specific timeliness, this room is merely a place, one that cannot be entered, neither physically nor mentally. As carriers of the absent image the rooms are negative spaces of representation, diametrically opposed to the \u0026ldquo;art room\u0026rdquo; and the exhibition hall. In that sense they indicate the non place of art.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe kamers van Jan Vercruysse nemen hun plaats in binnen de traditie van de \u0026lsquo;kunstkamer\u0026rsquo;, in de westerse kunstgeschiedenis het thema bij uitstek om te reflecteren over kunst. Het zijn kunstwerken die kunst impliceren. Met een zeker verwachtingspatroon benadert men deze doosachtige constructies, deze cultusplaatsen. Streng, monumentaal en rijkelijk aandoend door de mahoniehouten bekleding lijken ze ontvreemd uit een sacristie, een indruk die nog versterkt wordt door het halfduister interieur waarin een trap leidt naar een spiegelvlak dat enkel een leegte weerkaatst. Afgesneden van de omliggende ruimte en ontdaan van elke specifieke tijdelijkheid is deze kamer enkel een plaats, maar dan wel een plaats die men niet kan betreden, noch fysisch, noch mentaal. Als houders van de afwezigheid van het beeld zijn de kamers negatieve representatieruimten die lijnrecht tegenover de \u0026lsquo;kunstkamer\u0026rsquo; en de tentoonstellingsruimte staan. In die zin duiden ze de niet-plaats van de kunst aan.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLes pi\u0026egrave;ces de Jan Vercruysse prennent place dans la tradition du \u0026laquo; cabinet d\u0026rsquo;objets d\u0026rsquo;art \u0026raquo;, un th\u0026egrave;me par excellence dans l\u0026rsquo;histoire de l\u0026rsquo;art d\u0026rsquo;occident pour nous conduire \u0026agrave; une r\u0026eacute;flexion sur l\u0026rsquo;art. Ce sont des \u0026oelig;uvres d\u0026rsquo;art qui impliquent l\u0026rsquo;art. C\u0026rsquo;est dans un certain style d\u0026rsquo;attente ou de curiosit\u0026eacute; que l\u0026rsquo;on approche ces constructions en forme de bo\u0026icirc;tes, ces endroits du culte. S\u0026eacute;v\u0026egrave;res, monumentales, faisant riche par leur rev\u0026ecirc;tement d\u0026rsquo;acajou elles semblent en effet avoir \u0026eacute;t\u0026eacute; d\u0026eacute;rob\u0026eacute;es dans quelque sacristie, et cette impression est renforc\u0026eacute;e par la p\u0026eacute;nombre d\u0026rsquo;un int\u0026eacute;rieur o\u0026ugrave; un escalier conduit \u0026agrave; un surface miroitante qui ne refl\u0026egrave;te que le vide. Coup\u0026eacute;es de l\u0026rsquo;espace adjacent, d\u0026eacute;pourvues de toute temporalit\u0026eacute; sp\u0026eacute;cifique, elles sont uniquement lieu, mais alors un lieu qu\u0026rsquo;il n\u0026rsquo;est pas question de foule, ni physiquement, ni mentalement. D\u0026eacute;tentrices de l\u0026rsquo;absence de toute image, les chambres ou cabinets sont des espaces de repr\u0026eacute;sentation n\u0026eacute;gatifs qui s\u0026rsquo;opposent rigoureusement au \u0026laquo; cabinet de l\u0026rsquo;amateur \u0026raquo; et \u0026agrave; l\u0026rsquo;espace de l\u0026rsquo;exposition.\u003c/p\u003e\r\n"}]},{"id":4315,"title":"Facile à faire","dimensions":"60 x 74.5 cm","date_begin":"1989-01-01","material":"paper (Vélin d'Arches)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset in 4 colours, V\u0026eacute;lin d\u0026#39;Arches 32/60\u003c/p\u003e\r\n","date_end":null,"reference":"BK006096","stream_count_app":17,"permalink":"facile-a-faire","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/719/large/Vercruysse__Jan__Facile_a_faire__1989.jpg?1343634545","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4348,"title":"Spleen de Hambourg","dimensions":"30 x 20 cm","date_begin":"1985-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eRelief printing and offset on paper/book 50 copies\u003c/p\u003e\r\n","date_end":null,"reference":"BK006086","stream_count_app":13,"permalink":"spleen-de-hambourg","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/751/large/Vercruysse__Jan__Spleen_De_Hambourg__1985.jpg?1343640188","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4352,"title":"Aphrodite","dimensions":"50.6 x 76.2 cm","date_begin":"1992-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOffset 11/44\u003c/p\u003e\r\n","date_end":null,"reference":"BK006091-001","stream_count_app":14,"permalink":"aphrodite","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/747/large/Vercruysse__0025_Jan___Aphrodite__1992_photo_clinckx.jpg?1343639152","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4362,"title":"Labyrinth \u0026 Pleasure Garden","dimensions":"12 x (66 x 49 cm)","date_begin":"1994-01-01","material":"ink, paper (Rivoli)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":14,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003ePress, Rivoli paper 240 gr\u003c/p\u003e\r\n","date_end":"2001-01-01","reference":"BK7433_M290","stream_count_app":106,"permalink":"labyrinth-pleasure-garden","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 Vercruysse","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/763/large/Vercruysse__0005_Jan__Labyrinth___pleasure_Garden_nr6__1994-2002__photo_MuHKA.jpg?1343642272","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eM HKA owns 13 prints from Jan Vercruysse\u0026#39;s extensive series \u003cem\u003eLabyrinth \u0026amp; Pleasure Garden\u003c/em\u003e, which consists of designs for gardens and parks in the public sphere. An overarching theme within Vercruysse\u0026#39;s oeuvre is the place of art and the artist in society. In this series, this theme crystallizes in a very concrete way: the origin of these proposals lies in a discussion about the possibility and meaning of placing contemporary art in parks and on squares. All designs come with measurements and intended materials, proof that Vercruysse sees his proposals als realistic and not as hypotheses. At this point, two of the proposals have been realised: #10 in Clarholz, Germany, and #23 in Knokke, Belgium. Vercruysse emphasizes that his gardens are not projects of landscaping and have to be seen as works of art. He creates his designs without consideration for the space surrounding the gardens. In this way, they are hermetic places, not directly in contact with the world outside. Like his \u003cem\u003e\u003ca href=\"http://ensembles.mhka.be/items/atopies-viii\"\u003eAtopies\u003c/a\u003e\u003c/em\u003e and \u003ca href=\"http://ensembles.mhka.be/items/kamer-iii\"\u003e\u003cem\u003eRooms\u003c/em\u003e\u003c/a\u003e, Vercruysse\u0026#39;s pleasure gardens can be seen as attempts at creating secluded opportunities for beauty, quiescence and reflection.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026#39;My gardens are not meant to fuse with a landscape. They want to manifest themselves distinctly and it is fine to experience them as something artificial. (...) As an artist I don\u0026#39;t have to take anything or anyone into account. I start with the feeling the garden has to evoke: should it be a friendly or an unfriendly garden, a hard or a soft one, a very closed garden or a more open one, a simple or a complicated one? The end result is not always unambiguous.\u0026#39; \u003c/em\u003e- Jan Vercruysse\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet M HKA bezit 13 prenten uit Jan Vercruysses uitgebreide reeks \u003cem\u003eLabyrinth \u0026amp; Pleasure Garden\u003c/em\u003e, die bestaat uit ontwerpen van tuinen en parken in de openbare ruimte. Een overkoepelend thema binnen het oeuvre van Vercruysse is de plaats van kunst en de kunstenaar in de samenleving. In deze reeks kristalliseert dit thema op een hele concrete manier: de voorstellen ontstonden naar aanleiding van een discussie over de mogelijkheid en zinvolheid om hedendaagse kunst te plaatsen in parken en op pleinen. Alle ontwerpen zijn voorzien van afmetingen en beoogde materialen, bewijs dat Vercruysse de voorstellen ziet als ree\u0026euml;l en niet als hypotheses. Inmiddels zijn twee van zijn voorstellen gerealiseerd: #10 in Clarholz, Duitsland en #23 in Knokke. Vercruysse benadrukt dat zijn tuinen geen landschapsarchitectuur zijn en gezien moeten worden als kunstwerken. Hij maakt zijn ontwerpen zonder de omgeving rondom de tuinen in acht te nemen. In zekere zin zijn het dus hermetische plaatsen die niet direct met de buitenwereld in contact staan. Net als zijn \u003cem\u003e\u003ca href=\"http://ensembles.mhka.be/items/atopies-viii\"\u003eAtopies\u003c/a\u003e\u003c/em\u003e en \u003cem\u003e\u003ca href=\"http://ensembles.mhka.be/items/kamer-iii\"\u003eKamers\u003c/a\u003e\u003c/em\u003e \u0026nbsp;zijn de pleziertuinen van Vercruysse dus pogingen tot het scheppen van afgezonderde gelegenheden tot schoonheid, rust en reflectie.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026#39;Mijn tuinen zijn niet bedoeld om te versmelten met een landschap. Ze willen zich duidelijk manifesteren en je mag ze gerust ervaren als iets kunstmatigs. (...) Als kunstenaar moet ik met niets en niemand rekening houden. Ik vertrek vanuit het gevoel dat de tuin moet oproepen: moet het een vriendelijke of een onvriendelijke tuin worden, een harde of een zachte, een zeer gesloten tuin of een meer open, een eenvoudige of een ingewikkelde? Het eindresultaat is niet altijd zo eenduidig.\u0026#39;\u003c/em\u003e - Jan Vercruysse\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":12174,"title":"Schöne Sentimenten","dimensions":"49 x 63 cm","date_begin":"1988-01-01","material":"silkscreen on paper","short_description":"\u003cp\u003e\u0026nbsp;Text \u0026#39;Sch\u0026ouml;ne Sentimenten\u0026#39;\u0026nbsp;in black silksreen on paper. Donation of Nadine Malfait\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0498_01","stream_count_app":12,"permalink":"schone-sentimenten","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/000/025/912/medium_500/vercruysse.jpg?1416411415","cached_actor_names":"Jan Vercruysse","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/000/025/912/large/vercruysse.jpg?1416411415","poster_credits":"© Jan Vercruysse. Image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]}]