[{"id":1201,"title":"James Lee Byars, Antwerpen 18 April - 7 Mei 1969","dimensions":"00:32:30","date_begin":"1969-01-01","material":"single-channel video, b/w, sound","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection MACBA, Barcelona","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"3680","stream_count_app":30,"permalink":"james-lee-byars-antwerpen-18-april-7-mei-1969","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/984/medium_500/3680b_770x590.JPG?1538591133","cached_actor_names":"Jef Cornelis","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/000/041/984/large/3680b_770x590.JPG?1538591133","poster_credits":"(c)still: MACBA, Barcelona","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe film \u003cem\u003eJames Lee Byars Antwerpen 18 April \u0026ndash; 7 Mei 1969\u003c/em\u003e\u0026nbsp;documents the artists exhibition at the Wide White Space Gallery (Antwerp) featuring Byars dressed in one of his costumes, participants in a group performance moving in procession through the streets of the city, Byars joining participants together in a piece of cloth, and reading from his autobiography.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe film \u003cem\u003eJames Lee Byars Antwerpen 18 April \u0026ndash; 7 Mei 1969\u003c/em\u003e\u0026nbsp;documenteert zijn tentoonstelling in de Wide White Space Gallery (Antwerpen)en vertelt over de relatie van de kunstenaar met de stad Antwerpen. Je ziet de kunstenaar gekleed in een van zijn werken, een groepsperformance door de straten van Antwerpen, Byars die de deelnemers wikkelt in een stuk stof en de kunstenaar die voorleest uit zijn autobiografie.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLe film \u003cem\u003eJames Lee Byars Antwerpen 18 April \u0026ndash; 7 Mei 1969\u003c/em\u003e\u0026nbsp;pr\u0026eacute;sente son exposition \u0026agrave; la galerie Wide White Space (Anvers) et retrace le lien qu\u0026rsquo;entretient l\u0026rsquo;artiste avec la ville d\u0026rsquo;Anvers. On y voit l\u0026rsquo;artiste, v\u0026ecirc;tu de l\u0026rsquo;une de ses oeuvres, une performance de groupe \u0026eacute;voluant dans les rues d\u0026rsquo;Anvers, Byars rejoignant les participants envelopp\u0026eacute;s dans l\u0026rsquo;un de ses tissus et l\u0026rsquo;artiste lisant des bribes de son autobiographie.\u003c/p\u003e\r\n"}]},{"id":9645,"title":"1964-1990 Jef Cornelis","dimensions":"29.5 x 19.5 cm, 143 p, language : French, English, publisher : Espace Art Contemporain - Maison de la Culture et de la Communication, Saint-Etienne","date_begin":"1991-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1993/47","stream_count_app":10,"permalink":"1964-1990-jef-cornelis","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/021/442/large/Untitled048.jpg?1395737878","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1202,"title":"James Lee Byars, The World Question Center","dimensions":"01:02:06","date_begin":"1969-01-01","material":"single-channel video, b/w, sound","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":22,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection MACBA, Barcelona","cached_tag_list":"JLB, James Lee Byars, The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"2883","stream_count_app":27,"permalink":"james-lee-byars-the-world-question-center","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":"Jef Cornelis","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/000/005/021/large/2883_a.jpg?1324290505","poster_credits":"(c)VRT, 1969","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u0026#39;The World Question Center\u0026#39; is a \u0026quot;performance\u0026quot; by James Lee Byars that was broadcasted live on Belgian television. Byars addressed a heterogeneous group of intellectuals, to each ask him a question about something they thought was significant. Among these people, were artists Marcel Broodthaers and John Cage, writer Simon Vinkenoog, doctor Robert Jungk and Knesset member Uri Avnery. The questions were discussed by Byars and a group of people in the studio, seated in a circle around him, all wearing an especially designed robe by the artist. The broadcast itself was directed by Belgian Jef Cornelis, who also filmed Byars during his activities at the Wide White Space Gallery. These images resulted in the documentary \u0026#39;James Lee Byars: een Amerikaans kunstenaar\u0026#39;, that was aired prior to the live broadcast of \u0026#39;The World Question Center\u0026#39;.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003ca href=\"http://www.argosarts.org/work.jsp?workid=d834be368895473eae5d415862bdad13\u0026amp;lang=nl http://www.packed.be/nl/resources/detail/een_relikwie_gered_over_de_digitalisering_van_the_world_question_center/artikels/\"\u003esource\u003c/a\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u0026#39;The World Question Center\u0026#39; is een \u0026quot;performance\u0026quot; van James Lee Byars die live werd uitgezonden op de Belgische televisie. Byars sprak een heterogene groep intellectuelen aan, die hem elk een volgens hen betekenisvolle vraag moesten stellen. Onder deze mensen bevonden zich de kunstenaars Marcel Broodthaers en John Cage, schrijver Simon Vinkenoog, Dokter Robert Jungk en Uri Avnery, lid van het Knesset. De vragen werden vervolgens door Byars en een groep mensen in de studio besproken. Allemaal zaten zij in een cirkel rond Byars en waren zij gehuld in hetzelfde, speciaal voor dit moment door hem ontworpen kleed. De uitzending zelf werd geregisseerd door de Belg Jef Cornelis, die eerder al de activiteiten van Byars in de Wide White Space Gallery had gefilmd. Deze beelden mondden uit in de documentaire \u0026#39;James Lee Byars: een Amerikaans kunstenaar\u0026#39;, die voor de live uitzending van \u0026#39;The World Question Center\u0026#39; werd getoond.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003ca href=\"http://www.argosarts.org/work.jsp?workid=d834be368895473eae5d415862bdad13\u0026amp;lang=nl http://www.packed.be/nl/resources/detail/een_relikwie_gered_over_de_digitalisering_van_the_world_question_center/artikels/\"\u003esource\u003c/a\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":13931,"title":"De Kleuren van de Geest (The Colours of the Mind)","dimensions":"00:42:39","date_begin":"1997-01-01","material":"Digital betacam ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":112,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of Argos, Brussels ","cached_tag_list":"De Kleuren van de Geest The Colours of the Mind Jef Cornelis","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"de-kleuren-van-de-geest-the-colours-of-the-mind","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/000/032/281/large/Capture2.jpg?1465480806","poster_credits":"(c)VRT","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eDe Kleuren van de Geest\u003c/em\u003e (\u003cem\u003eThe Colours of the Mind\u003c/em\u003e) was the last film Cornelis made in 1997. Inspired by the exhibition Trance Dance at the Royal Museum of Fine Arts in Antwerp that same year, the film uses the phenomenon of electronic dance music culture as a means to look at the social and spiritual role of self-induced trances in esoteric folk cultures historically. First looking at European paintings depicting pleasure gardens filled with large groups of people engaging in the fervour of Moorish dance, Cornelis then turns to Gnawa, an ancient culture still present in parts of modern-day Morocco. During nights of communal religious celebration, the Gnawa use durational rhythmic music and poetry for leading ecstatic swirling dances that lead to states of spiritual trance. A clairvoyant is typically present that gives readings on the colours and feelings he/she can see in the minds of the participants during such states of consciousness.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe film is interspersed with many short clips of people dancing at rave parties, drawing connections between the two forms of collective dancing to rhythmic music, and the ensuing altered states of consciousness. \u003cem\u003eDe Kleuren van de Geest\u003c/em\u003e tells us that the desire for such corporeal surrender is an intrinsic part of human nature.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eDe Kleuren van de Geest\u003c/em\u003e, uit 1997\u003cem\u003e, \u003c/em\u003ewas de laatste film die Cornelis maakte. De film, ge\u0026iuml;nspireerd door de tentoonstelling \u003cem\u003eTrance Dance \u003c/em\u003ein het Koninklijk Museum voor Schone Kunsten in Antwerpen die datzelfde jaar plaatsvond, kijkt via het fenomeen van elektronische dansmuziekcultuur naar de sociale en spirituele rol van de zelf-ge\u0026iuml;nduceerde trance van historische \u0026#39;esoterische\u0026#39; volksculturen. Cornelis richt zich eerst op Europese schilderijen waarop pleziertuinen staan afgebeeld, vol met grote groepen mensen die zich overgeven aan de vurigheid van de Moorse dans. Dan keert zijn camera naar de Gnawa, een eeuwenoude cultuur die in bepaalde streken van het huidige Marokko nog steeds bestaat. Tijdens nachten van gemeenschappelijke religieuze viering wordt aanhoudend ritmische muziek gespeeld en po\u0026euml;zie voorgedragen, die samen de toon zetten voor extatisch wervelende dansen. Die laatste\u0026nbsp; leiden tot een toestand van spirituele trance en doorgaans is er ook een helderziende aanwezig die vertelt welke kleuren en gevoelens hij tijdens zulke bewustzijnstoestanden in de geesten van de deelnemers kan zien.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe film is doorspekt met tal van korte clips van dansende mensen op raveparties, waarbij Cornelis verbanden legt tussen die twee vormen van collectief dansen op ritmische muziek \u0026ndash; inclusief de daaruit voortvloeiende veranderde bewustzijnstoestanden. \u003cem\u003eDe Kleuren van de Geest\u003c/em\u003e vertelt ons dat het verlangen naar zo\u0026#39;n lichamelijke overgave een intrinsiek aspect is van de menselijke natuur.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eDe Kleuren van de Geest\u003c/em\u003e (\u003cem\u003eLes couleurs de l\u0026rsquo;esprit\u003c/em\u003e) est le dernier film que Cornelis a r\u0026eacute;alis\u0026eacute; en 1997. Inspir\u0026eacute; par l\u0026rsquo;exposition \u003cem\u003eTrance Dance\u003c/em\u003e au Mus\u0026eacute;e Royal des Beaux-arts d\u0026rsquo;Anvers cette ann\u0026eacute;e-l\u0026agrave;, le film se sert du ph\u0026eacute;nom\u0026egrave;ne de la musique \u003cem\u003edance\u003c/em\u003e \u0026eacute;lectronique comme moyen d\u0026rsquo;observer le r\u0026ocirc;le social et spirituel que la transe auto-suscit\u0026eacute;e a jou\u0026eacute; au cours de l\u0026rsquo;histoire dans les cultures populaires \u0026eacute;sot\u0026eacute;riques. \u0026Eacute;tudiant d\u0026rsquo;abord des tableaux europ\u0026eacute;ens repr\u0026eacute;sentant les jardins des d\u0026eacute;lices dans lesquels de grands groupes de gens se lancent avec ferveur dans une danse mauresque, Cornelis se penche ensuite sur les Gnaouas, une culture ancienne toujours pr\u0026eacute;sente dans certaines parties du Maroc contemporain. Au cours de nuits de c\u0026eacute;l\u0026eacute;bration religieuse, les Gnaouas jouent pendant de longues heures de la musique et de la po\u0026eacute;sie rythmiques pour accompagner des danses extatiques tourbillonnantes qui entra\u0026icirc;nent des \u0026eacute;tats de transe spirituelle. Typiquement, une voyante est pr\u0026eacute;sente et donne une lecture des couleurs et des sensations qu\u0026rsquo;elle peut voir dans les esprits des participants qui atteignent de tels \u0026eacute;tats de conscience.\u003c/p\u003e\r\n\r\n\u003cp\u003eLe film est \u0026eacute;maill\u0026eacute; de nombreux petits clips de gens dansant \u0026agrave; des raves, \u0026eacute;tablissant un lien entre les deux formes de danse collective sur de la musique rythmique et les \u0026eacute;tats de conscience alt\u0026eacute;r\u0026eacute;e qui s\u0026rsquo;ensuivent. \u003cem\u003eDe Kleuren van de Geest\u003c/em\u003e (\u003cem\u003eLes couleurs de l\u0026rsquo;esprit\u003c/em\u003e) nous dit que le d\u0026eacute;sir d\u0026rsquo;un tel abandon physique constitue une part intrins\u0026egrave;que de la nature humaine.\u003c/p\u003e\r\n"}]}]