[{"id":49,"title":"ABC, Ecole de Paris [ABC, School of Paris]","dimensions":"7 x (135 x 90 x 5 cm), 7 x (137.7 x 92.1 x 5 cm), 157,2 x  129,5 x 4,5 cm","date_begin":"1959-01-01","material":"mixed media, paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":58,"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":"1961-01-01","reference":"BK5408","stream_count_app":55,"permalink":"abc-ecole-de-paris-abc-school-of-paris","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/902/large/20110308092218154_0001b.jpg?1315384451","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e*ABC, Ecole de Paris* [ABC, School of Paris] is a wall installation made of 15 colored papers. Being a school teacher for years inspired Jef Geys\u0026rsquo; image of society; a passion for equality, hierarchy, mastery, shapes and form. This and other installations refer to the Russian avant-garde. He aims art that goes beyond the artwork; art getting out of its borders and uses shape in a more radical way. He defines art as the intensity of daily life. As an artist he does what formally and conceptually relates to the real community; the community of Balen; his hometown.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDoorheen het oeuvre van kunstenaar Jef Geys lopen vragen als: wat proberen diegenen die over een zekere macht beschikken aan de \u0026lsquo;gewone mensen\u0026rsquo; wijs te maken, wat proberen ze hen te doen vergeten? Als kunstenaar weet Geys dat hij zelf geen heilige en geen held is: hij weet dat hij deel uitmaakt van een troebel circuit, ver weg van het gewone volk, hij weet dat het idee zelf van kunst sinds lang verdacht is. De kunstenaar is zijn onschuld kwijt en deze situatie inspireert Geys tot interesse voor wat aan het \u0026lsquo;begin\u0026rsquo; staat; de eenvoudigste elementen en regels, de grondslagen. Zo kom je terecht bij het alfabet, alhoewel deze bron argwanend wordt bekeken, aangezien ze geen natuurlijke, maar een artifici\u0026euml;le bron is. Het is echter niet omdat je de grondslagen, zoals het ABC, kent dat je vanzelf toegang hebt tot een zogenaamd hoger niveau, zoals de \u0026lsquo;Grote\u0026rsquo; literatuur. Die \u0026lsquo;behoeftige\u0026rsquo; zoekt dikwijls zijn toevlucht in de clich\u0026eacute;s van de triviaalliteratuur, wat getuigt van de grote menselijke nood aan kitsch. In de vraag naar het waarom van deze drang naar kitsch volgt Geys de gedachtegang van schrijver Milan Kundera in zijn *De kunst van de roman*. Daarin noemt Kundera kitsch de absolute ontkenning van de stront, zowel in de letterlijke als in de figuurlijke betekenis van het woord; kitsch sluit alles buiten zijn gezichtsveld wat essentieel onaanvaardbaar is in het menselijk bestaan. Wie de (dure) cursus van de \u0026Eacute;cole de Paris volgt, zal goed leren tekenen \u0026ndash; leert de grondslagen van de tekenkunst. Doe dit, doe dat en uw talent zal zich ontplooien, u treedt het domein van de kunst binnen. Jef Geys voert de opdrachten braaf uit \u0026ndash; hij maakt zich het ABC van het tekenen eigen \u0026ndash; maar bij nader toezien blijkt zijn aanpassing niet zo compleet, hij volgt niet het vastgelegde parcours dat naar het \u0026lsquo;volgende\u0026rsquo; niveau moet leiden en stelt tegelijkertijd kitsch in vraag. Het is weinig aannemelijk dat die fraaie tekeningen aangebracht moesten worden op bruin inpakpapier: een vulgair materiaal dat de artistieke illusie tegenwerkt. In de tekeningen heeft de leerling-tekenaar bovendien terloops wat ideologische bagage verwerkt. De argeloosheid is weg, het denken kan beginnen. In de ingrepen van Geys toont zich het verstand dat bezwaren maakt, dat wijst op de stront. Wie voldoende stilstaat bij deze werken, vindt er impulsen om echt te leren lezen, kijken enzovoort. Zo wordt het werk op een paradoxale manier didactisch.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":183,"title":"!Vrouwenvragen? [!Women's questions?]","dimensions":"600 x 140 cm","date_begin":"1965-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eA long roll of brown paper, rolled up on two sticks, features a laundry list of questions. The list of questions, neatly ordered and numbered, covers the entire wall. Not all questions are visible. The total length of the roll is six meters! All questions deal with the same issue: the status of women. The artist found his inspiration for this list in news stories. Although the work dates back to 1965, many of these questions are still exceedingly relevant today.\u003c/p\u003e\r\n\r\n\u003cp\u003eA loaded content is hidden behind the aesthetic, decorative appearance of this work. Jef Geys formulated questions as a starting point for discussions in the classroom. The education authorities replaced traditional art education was replaced with aesthetics in the 1960s. The teachers, in keeping with the spirit of the times, were given complete freedom when compiling those lessons. The only requirement was that in these classes the confrontation with reality and daily news had to be present. This requirement closely matches one of the basic ideas of Geys: through his art projects he wants to confront the audience with the reality of daily life.\u003c/p\u003e\r\n\r\n\u003cp\u003eJef Geys drew on his own daily reality as a teacher of plastic education for this work. He confronts his students with an aspect of society in which they live and that involves them directly: the status of women. In turn, this project generated an artwork called \u003cem\u003e!Vrouwenvragen? (! Women\u0026rsquo;s Questions?)\u003c/em\u003e. Jef Geys published this work in several editions, in different languages. That way, \u003cem\u003e!Vrouwenvragen?\u003c/em\u003e\u0026nbsp;has been able to reach a very wide audience.\u003c/p\u003e\r\n","date_end":null,"reference":"BK7523_M362","stream_count_app":48,"permalink":"vrouwenvragen-women-s-questions","description_ru":"","description_de":"\u003cp\u003eAuf einer langen Rolle braunem Papier, das auf zwei St\u0026ouml;cke aufgerollt ist, steht eine Liste mit Fragen. Diese Liste Fragen, die sch\u0026ouml;n geordnet und nummeriert sind, nimmt die ganze Mauer in Beschlag. Nicht alle Fragen sind sichtbar. Die gesamte L\u0026auml;nge der Rolle betr\u0026auml;gt sechs Meter! Alle Fragen behandeln das gleiche Thema: die Stellung der Frau. Der K\u0026uuml;nstler fand seine Inspiration f\u0026uuml;r diese Liste in den damaligen Nachrichten. Obwohl das Werk aus dem Jahr 1965 stammt, sind viele Fragen noch immer brandaktuell.\u003c/p\u003e\r\n\r\n\u003cp\u003eHinter dem \u0026auml;sthetischen, dekorativen \u0026Auml;u\u0026szlig;eren dieses Werks verbirgt sich ein geladener Inhalt. Jef Geys stellt diese Frageliste als Ausgangspunkt f\u0026uuml;r Diskussionen in der Klasse auf. Der Unterricht plastische Erziehung wurde in den 60er Jahren von der Inspektion durch \u0026Auml;sthetik ersetzt. Die Lehrkr\u0026auml;fte erhielten entsprechend Zeitgeist alle Freiheit, diesen Unterricht zu f\u0026uuml;llen. Als einzige Anforderung wurde gestellt, dass in diesen Stunden die Konfrontation mit der Wirklichkeit und der t\u0026auml;glichen Aktualit\u0026auml;t gesucht werden musste. Dieser Anspruch schlie\u0026szlig;t eng mit einer der Grundideen des K\u0026uuml;nstlers an: \u0026uuml;ber seine Kunstprojekte will er den Zuschauer mit der Realit\u0026auml;t des Alltags konfrontieren.\u003c/p\u003e\r\n\r\n\u003cp\u003eJef Geys geht f\u0026uuml;r dieses Werk von der allt\u0026auml;glichen Wirklichkeit seiner Situation als Lehrer f\u0026uuml;r plastische Erziehung aus. Er konfrontiert seine Sch\u0026uuml;ler mit einem Aspekt aus der Gesellschaft, in der sie leben und der sie direkt betrifft: die Stellung der Frau. Aus diesem Projekt ist dann wiederum das Kunstwerk \u003cem\u003e!Vrouwenvragen?\u003c/em\u003e (Frauenfragen) entstanden. Jef Geys brachte dieses Werk in mehreren Auflagen in verschiedenen Sprachen heraus. Auf diese Weise erreichten die \u003cem\u003e!Vrouwenvragen?\u003c/em\u003e\u0026nbsp;ein sehr breites Publikum.\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":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/000/036/990/large/2017_SUPERDEMOCRATIE_Senaat_photo_M_HKA_6_40.jpg?1506687080","poster_credits":"image: (c) M HKA, Collection M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eWomens questions?\u003c/em\u003e\u0026nbsp;is a list of handwritten questions, questions made for schoolgirls. A questionnaire that brings the viewer in relation with the community. In this work Jef Geys uses language as a vehicle to extrapolate the community. Again a transgression of the boarders, an expansion of the esthetics into the everyday reality of schoolgirls.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eOp een lange rol bruin papier, opgerold op twee stokken, staat een waslijst vragen genoteerd. De lijst vragen, netjes geordend en genummerd, beslaat de hele muur. Niet alle vragen zijn zichtbaar. De totale lengte van de rol bedraagt zes meter! Alle vragen behandelen hetzelfde thema: de positie van de vrouw. De kunstenaar vond zijn inspiratie voor deze lijst in de toenmalige nieuwsfeiten. Hoewel het werk dateert uit 1965 zijn veel van deze vragen nog steeds brandend actueel.\u003c/p\u003e\r\n\r\n\u003cp\u003eAchter het esthetische, decoratieve uiterlijk van dit werk, gaat een geladen inhoud schuil. Jef Geys stelde deze lijst vragen op als vertrekpunt voor discussies in de klas. De les plastische opvoeding werd in de jaren \u0026rsquo;60 door de inspectie vervangen door esthetica. De leerkrachten kregen, geheel binnen de tijdgeest, alle vrijheid voor het invullen van die lessen. Als enige vereiste werd gesteld dat in deze lessen de confrontatie met de werkelijkheid en de dagelijkse actualiteit moest worden aangegaan. Die vereiste sluit nauw aan bij \u0026eacute;\u0026eacute;n van de basisidee\u0026euml;n van de kunstenaar: via zijn kunstprojecten wil hij de toeschouwers confronteren met de realiteit van het dagelijkse leven.\u003c/p\u003e\r\n\r\n\u003cp\u003eJef Geys vertrekt voor dit werk vanuit de dagelijkse realiteit van zijn situatie als leerkracht plastische opvoeding. Hij confronteert zijn leerlingen met een aspect uit de maatschappij waarin ze leven en dat hen zeer direct aanbelangt: de positie van de vrouw. Vanuit dit project ontstaat dan op haar beurt het kunstwerk \u003cem\u003e!Vrouwenvragen?\u003c/em\u003e. Jef Geys bracht dit werk uit in meerdere edities, in verschillende talen. Op die manier bereiken de \u003cem\u003e!Vrouwenvragen?\u003c/em\u003e\u0026nbsp;een zeer breed publiek.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eUne longue liste de questions figure sur un long rouleau de papier brun qui s\u0026#39;enroule, aux deux extr\u0026eacute;mit\u0026eacute;s, sur un b\u0026acirc;ton. Cette liste, sur laquelle les questions sont soigneusement ordonn\u0026eacute;es et num\u0026eacute;rot\u0026eacute;es, recouvre tout le mur. Toutes les questions ne sont pas visibles. Le rouleau a une longueur totale de six m\u0026egrave;tres ! Toutes les questions traitent un seul et m\u0026ecirc;me th\u0026egrave;me : la situation de la femme. Pour constituer cette liste, l\u0026#39;artiste s\u0026#39;est inspir\u0026eacute; de faits d\u0026#39;actualit\u0026eacute; de l\u0026#39;\u0026eacute;poque. Bien que l\u0026#39;\u0026oelig;uvre date de 1965, bon nombre de ces questions sont encore d\u0026#39;une actualit\u0026eacute; br\u0026ucirc;lante.\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026#39;apparence esth\u0026eacute;tique et d\u0026eacute;corative de cette \u0026oelig;uvre cache un contenu lourd de sens.\u0026nbsp; Jef Geys a compos\u0026eacute; cette liste de questions pour amorcer la discussion en classe, en guise d\u0026#39;aguichage. Dans les ann\u0026eacute;es 60, l\u0026#39;inspection a remplac\u0026eacute; le cours d\u0026#39;arts plastiques par un cours d\u0026#39;esth\u0026eacute;tique. Dans l\u0026#39;esprit de l\u0026#39;\u0026eacute;poque, les enseignants avaient alors toute libert\u0026eacute; de donner \u0026agrave; ce cours le contenu qu\u0026#39;ils voulaient. La seule exigence \u0026eacute;tait qu\u0026#39;ils devaient aborder la confrontation avec la r\u0026eacute;alit\u0026eacute; et l\u0026#39;actualit\u0026eacute; quotidienne. Une exigence qui cadrait parfaitement avec une des id\u0026eacute;es de base de l\u0026#39;artiste : par le biais de ses projets artistiques, il veut confronter les spectateurs \u0026agrave; la r\u0026eacute;alit\u0026eacute; de la vie quotidienne.\u003c/p\u003e\r\n\r\n\u003cp\u003ePour cette \u0026oelig;uvre, Jef Geys prend comme point de d\u0026eacute;part sa r\u0026eacute;alit\u0026eacute; quotidienne d\u0026#39;enseignant en arts plastiques. Il confronte ses \u0026eacute;l\u0026egrave;ves \u0026agrave; un aspect de la soci\u0026eacute;t\u0026eacute; dans laquelle elles vivent et qui les concerne au premier chef : la situation de la femme. Ce projet donne naissance, \u0026agrave; son tour, \u0026agrave; l\u0026#39;\u0026oelig;uvre \u003cem\u003e!Vrouwenvragen?\u003c/em\u003e (!Questions de femmes?). Jef Geys a d\u0026eacute;clin\u0026eacute; cette \u0026oelig;uvre en plusieurs \u0026eacute;ditions. En plus de la version n\u0026eacute;erlandaise, il en existe une japonaise, une fran\u0026ccedil;aise et une anglaise. \u003cem\u003e!Vrouwenvragen?\u003c/em\u003e peut ainsi toucher un tr\u0026egrave;s large public.\u003c/p\u003e\r\n"}]},{"id":5732,"title":"Deutschland - Haus Lempke Weissensee - Berlin - 1932 - L. Mies Van de Rohe","dimensions":"14 x 35 x 27 cm","date_begin":"1991-01-01","material":"wood, plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"model","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK5929_c1","stream_count_app":23,"permalink":"deutschland-haus-lempke-weissensee-berlin-1932-l-mies-van-de-rohe--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/331/large/Geys__0011_Jef__Geys__Jef__Berlijn__Duitsland__1991__Photo_A4Avzw.jpg?1343131796","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5736,"title":"België - Villa M. te Zedelgem - Loppem - 1989 - Stéphane Beel","dimensions":"14 x 72 x 27 cm","date_begin":"1991-01-01","material":"wood, plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"model","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK5929_al","stream_count_app":26,"permalink":"belgie-villa-m-te-zedelgem-loppem-1989-stephane-beel","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/000/011/349/large/Geys__0018_Jef__Zedelgem__Loppem__1991_photo_A4Avzw.jpg?1343132971","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5776,"title":"Zwarte overall","dimensions":"187 x 132 x 4 cm","date_begin":"1991-01-01","material":"photo","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"bache photographic","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BRJG12","stream_count_app":23,"permalink":"zwarte-overall","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDas Selbstportr\u0026auml;t \u003cem\u003eSchwarzer Overall\u003c/em\u003e geh\u0026ouml;rt zu einer Reihe, die Jef Geys auf der 21. Biennale von Sao Paulo zeigte. Der K\u0026uuml;nstler macht sich auf die Suche nach den Basisformen, die eine einfache Struktur haben und deren Themen zugleich sehr heikel sind. Das heraldische Blau f\u0026auml;rbt ein Dreieck im Davidstern, den er zeigt. Daneben stellt Geys das Bild, das die Gesellschaft von einem K\u0026uuml;nstler hat,\u0026nbsp; auf den Kopf, indem er sich selbst in einem Register abbildet, das an einen Gefangenen, Verbrecher oder Terroristen erinnert.\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":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/000/034/847/large/Jef_Geys_Zwarte_overall__1991photo_M_HKAcc.jpg?1486545264","poster_credits":"image: (c) M HKA, Collection M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe self-portrait \u003cem\u003eBlack Overalls\u003c/em\u003e is part of the series that Jef Geys showed on the 21st Biennale of Sao Paulo. The artist is looking for basic shapes that are simple in terms of structure, but are loaded with meaning at the same time. One of the triangles of the Star of David he is holding is coloured in in heraldic blue. Geys also overturns the image which society has of an artist by portraying himself in a register that is reminiscent of a prisoner, criminal or terrorist.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eIn \u003cem\u003eZwarte Overall\u003c/em\u003e\u0026nbsp;(1991), poseert Jef Geys in een zwarte overall met een ster in zijn handen. De ster komt als motief in meerdere van Geys\u0026rsquo; werken voor. De kunstenaar koestert een bijzondere belangstelling voor de kracht, de betekenis en de symboliek van deze universele figuur. Onder het naziregime werd een indeling met gekleurde driehoeken gebruikt om de groepen gevangenen van elkaar te kunnen onderscheiden. De blauwe driehoek werd gedragen door emigranten. Ook buitenlanders die in Duitsland tewerkgesteld waren en hierbij niet of onvoldoende hadden meegewerkt werden met een blauwe driehoek in de kampen opgesloten.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn de vier structuren die M HKA in permanente bruikleen heeft van de Vlaamse Gemeenschap, en die onderdeel zijn van een reeks van achttien stukken, gemaakt ter gelegenheid van de Bi\u0026euml;nnale in Sao Paolo in 1991 komen deze sterren ook voor. Op elke structuur staat een zespuntige ster geschilderd in de kleuren van de voetbalploegen waarnaar de kleine maquettes verstuurd werden om daar in de trofee\u0026euml;nkast naast de bekers te prijken, ook voor. Architectuur en voetbal werden door Geys samengebracht in deze structuren, omdat, in zijn ogen, sportstadia meer en meer gebruikt en gebouwd worden als supergevangenissen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eBlauw wit is ook de kleurcombinatie van de voetbalploeg F.C. Sparta van Lommel.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eL\u0026#39;auto-portrait \u003cem\u003eZwarte overall\u003c/em\u003e fait partie d\u0026#39;une s\u0026eacute;rie expos\u0026eacute;e par Jef Geys \u0026agrave; la 21\u0026egrave;me Biennale de Sao Paulo. L\u0026#39;artiste recherche des formes de base ayant une structure simple et n\u0026eacute;anmoins lourdement charg\u0026eacute;es en contenu. Le bleu h\u0026eacute;raldique colore un triangle dans l\u0026#39;\u0026eacute;toile de David qu\u0026#39;il pr\u0026eacute;sente. En outre, Geys envoie au tapis l\u0026#39;id\u0026eacute;e que la soci\u0026eacute;t\u0026eacute; se fait d\u0026#39;un artiste en se repr\u0026eacute;sentant lui-m\u0026ecirc;me dans un registre qui fait penser \u0026agrave; un prisonnier, un criminel ou un terroriste.\u003c/p\u003e\r\n"}]},{"id":5733,"title":"Czechoslovakia - House in Prague - 1985 - Bocân","dimensions":"24 x 35 x 27 cm","date_begin":"1991-01-01","material":"wood, plexi","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"model","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK5929_b1","stream_count_app":25,"permalink":"czechoslovakia-house-in-prague-1985-bocan","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/000/011/339/large/Geys__0014_Jef__Praag__Tsjechi%C3%AB__1991_photo_A4Avzw.jpg?1343132214","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5741,"title":"Al de zwart wit foto's tot 1998 [All Black and White Pictures until 1998]","dimensions":"60 x 80 cm","date_begin":"1998-01-01","material":"photo","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eHet werk ontbreekt een blad wegens waterschade in 2009.\u003c/p\u003e\r\n","date_end":null,"reference":"BK7690_M441","stream_count_app":36,"permalink":"al-de-zwart-wit-foto-s-tot-1998-all-black-and-white-pictures-until-1998","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/065/large/2016_Van_Broodthaers_tot_Braeckman__8_2.jpg?1475502331","poster_credits":"Image: (c) M HKA, Collectie M HKA, Collectie Vlaamse Gemeenschap","translations":[{"locale":"en","description":"\u003cp\u003eIn 2002 Jef Geys was one of the four Belgian artists at the eleventh Documenta, which was compiled by Okwui Enwezor. Geys showed a 36-hour black-and-white film, \u003cem\u003eDag en Nacht en Dag en\u0026hellip; / Day and Night and Day and\u0026hellip;\u003c/em\u003e, in which an endless series of the artist\u0026rsquo;s photographs was shown in an agonizingly slow, hynotic sequence in a room at the Fridericianum. This was a true film marathon, in which Geys harked back to a book, published in 1998, with the prosaic self-explanatory title of \u003cem\u003eAl de zwart-wit Foto\u0026rsquo;s tot 1998\u003c/em\u003e\u0026nbsp;(All the black \u0026amp; white photos up to 1998): a very thick book of 500 pages of contact prints comprising all the photos the artist had taken over the last forty years. It was partly due to the \u003cem\u003eDE ORDE DER DINGEN\u003c/em\u003e\u0026nbsp;exhibition in 2008 that the M HKA decided to buy the 500 contact sheets that made up the aforementioned book. Geys\u0026rsquo; overwhelming, literally immersive personal archive is presented in the M KHA in a closed, darkened room and is a striking metaphor for the fantastic image of a descent into the deep vaults of forty years of black-and-white artistic skill. In \u003cem\u003eDag en Nacht en Dag en\u0026hellip; / Day and Night and Day and\u0026hellip;\u003c/em\u003e\u0026nbsp;the film projection symbolises the slow but inevitable passage of time. In a single panoramic glance \u003cem\u003eAl de zwart-wit Foto\u0026rsquo;s tot 1998\u003c/em\u003e\u0026nbsp;gives one an overview of the artist as a relentless observer and chronicler of his own history.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn 2002 was Jef Geys \u0026eacute;\u0026eacute;n van de vier Belgische kunstenaars in de door Okwui Enwezor samengestelde elfde Documenta. Geys toonde in een kamer van het Fridericianum \u003cem\u003eDag en Nacht en Dag en\u0026hellip; / Day and Night and Day and\u0026hellip;\u003c/em\u003e, een 36 uur durende zwart-wit film waarin een eindeloze reeks door de kunstenaar zelf gemaakte foto\u0026rsquo;s elkaar tergend, hypnotisch langzaam opvolgden. Een heuse filmmarathon waarin Geys\u0026rsquo; teruggreep naar een in 1998 gepubliceerd boekwerk met de proza\u0026iuml;sche, zichzelf verklarende titel \u003cem\u003eAl de zwart-wit Foto\u0026rsquo;s tot 1998\u003c/em\u003e: een vuistdik boek van 500 bladzijden contactafdrukken met daarin alle tot de kunstenaar gemaakte foto\u0026rsquo;s van de laatste veertig jaar. Mede naar aanleiding van de tentoonstelling \u003cstrong\u003eDE ORDE DER DINGEN\u003c/strong\u003e\u0026nbsp;in 2008 besloot het M HKA de 500 contactafdrukken die samen het voornoemde boek vormen aan te kopen. Geys\u0026rsquo; overrompelende, letterlijk immersieve persoonlijke archief wordt in het M HKA in een afgesloten, verduisterd kabinet gepresenteerd \u0026ndash; een treffende metafoor voor het fantastische beeld van een afdaling in de diepe krochten van veertig jaar (zwart-wit) kunstenaarschap. In\u003cem\u003e Dag en Nacht en Dag en\u0026hellip; / Day and Night and Day and\u0026hellip;\u003c/em\u003e\u0026nbsp;symboliseert de filmprojectie het trage maar onomkeerbare voorbijstromen van de tijd. \u003cem\u003eAl de zwart-wit Foto\u0026rsquo;s tot 1998\u003c/em\u003e\u0026nbsp;biedt in \u0026eacute;\u0026eacute;n panoramische oogopslag een overzicht van de kunstenaar als meedogenloos observator en chroniqueur van de (eigen) geschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEn 2002, Jef Geys \u0026eacute;tait l\u0026rsquo;un des quatre artistes belges qu\u0026rsquo;Okwui Enwezor a s\u0026eacute;lectionn\u0026eacute;s pour la onzi\u0026egrave;me Documenta \u0026agrave; Kassel. Dans une pi\u0026egrave;ce du Fridericianum, l\u0026rsquo;artiste a montr\u0026eacute;\u003cem\u003e Dag en Nacht en Dag en\u0026hellip; / Day and Night and Day and\u0026hellip;,\u003c/em\u003e un film en noir et blanc d\u0026rsquo;une dur\u0026eacute;e de 36\u0026nbsp;heures dans lequel se succ\u0026egrave;de, \u0026agrave; une lenteur exasp\u0026eacute;rante et hypnotique, une s\u0026eacute;rie infinie de photographies qu\u0026rsquo;il a r\u0026eacute;alis\u0026eacute;es. Un vrai marathon cin\u0026eacute;matographique dans lequel Geys reprend un livre publi\u0026eacute; en 1998 au titre prosa\u0026iuml;que et explicite, \u003cem\u003eAl de zwart-wit Foto\u0026rsquo;s tot 1998 (Toutes les photos en noir et blanc jusqu\u0026rsquo;en 1998)\u0026nbsp;\u003c/em\u003e: un volumineux ouvrage de 500 pages de planches contact avec toutes les photos que l\u0026rsquo;artiste a r\u0026eacute;alis\u0026eacute;es au cours des quarante derni\u0026egrave;res ann\u0026eacute;es. En 2008, en partie \u0026agrave; l\u0026rsquo;occasion de l\u0026rsquo;exposition \u003cstrong\u003e\u003cem\u003eDE ORDE DER DINGEN\u003c/em\u003e\u003c/strong\u003e qui se tenait cette ann\u0026eacute;e-l\u0026agrave; au M\u0026nbsp;HKA, le mus\u0026eacute;e a d\u0026eacute;cid\u0026eacute; d\u0026rsquo;acheter les 500 planches contact originales qui composent le livre susmentionn\u0026eacute;. Les archives personnelles de Jef Geys, abondantes et litt\u0026eacute;ralement immersives, sont pr\u0026eacute;sent\u0026eacute;es dans un cabinet ferm\u0026eacute; et occult\u0026eacute; \u0026ndash; une m\u0026eacute;taphore frappante pour l\u0026rsquo;image fantastique d\u0026rsquo;une descente dans les tr\u0026eacute;fonds de quarante ans de carri\u0026egrave;re artistique (en noir et blanc). Dans \u003cem\u003eDag en Nacht en Dag en\u0026hellip; / Day and Night and Day and\u0026hellip;,\u003c/em\u003e la projection symbolise l\u0026rsquo;\u0026eacute;coulement lent mais irr\u0026eacute;versible du temps. \u003cem\u003eAl de zwart-wit Foto\u0026rsquo;s tot 1998 pr\u0026eacute;sente en un coup d\u0026rsquo;\u0026oelig;il panoramique une vue d\u0026rsquo;ensemble \u003c/em\u003ede l\u0026rsquo;\u0026oelig;uvre de cet observateur et chroniqueur impitoyable de la (propre) histoire.\u003c/p\u003e\r\n"}]},{"id":5729,"title":"De gevallen verwittiging [The Fallen Warning]","dimensions":"400  x 700 x 200 cm","date_begin":"1985-01-01","material":"steel, pigment powder","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK5206_M19","stream_count_app":51,"permalink":"de-gevallen-verwittiging-the-fallen-warning","description_ru":"","description_de":"","description_es":"","description_el":"\u003cp\u003e\u003cstrong\u003e\u0026laquo;Meneh, meneh, tishqol vetikhalaq.\u0026raquo;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026Zeta;\u0026upsilon;\u0026gamma;ί\u0026sigma;\u0026tau;\u0026eta;\u0026kappa;\u0026epsilon;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026beta;\u0026rho;έ\u0026theta;\u0026eta;\u0026kappa;\u0026epsilon;\u0026sigmaf; \u0026lambda;\u0026epsilon;\u0026iota;\u0026psi;ό\u0026sigmaf;.\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e(\u0026Beta;\u0026iota;\u0026beta;\u0026lambda;ί\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Delta;\u0026alpha;\u0026nu;\u0026iota;ή\u0026lambda;, \u0026Pi;\u0026alpha;\u0026lambda;\u0026alpha;\u0026iota;ά \u0026Delta;\u0026iota;\u0026alpha;\u0026theta;ή\u0026kappa;\u0026eta;, \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026epsilon;\u0026beta;\u0026rho;\u0026alpha;ϊ\u0026kappa;ή \u0026gamma;\u0026lambda;ώ\u0026sigma;\u0026sigma;\u0026alpha;)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026Tau;\u0026omicron; \u0026pi;\u0026alpha;\u0026rho;ά\u0026theta;\u0026epsilon;\u0026mu;\u0026alpha; \u0026alpha;\u0026nu;\u0026alpha;\u0026phi;έ\u0026rho;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026iota;\u0026sigma;\u0026tau;\u0026omicron;\u0026rho;ί\u0026alpha; \u0026tau;\u0026eta;\u0026sigmaf; \u0026pi;\u0026tau;ώ\u0026sigma;\u0026eta;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026beta;\u0026alpha;\u0026sigma;\u0026iota;\u0026lambda;\u0026iota;ά \u0026Beta;\u0026alpha;\u0026lambda;\u0026tau;ά\u0026sigma;\u0026alpha;\u0026rho; \u0026tau;\u0026eta;\u0026sigmaf; \u0026Beta;\u0026alpha;\u0026beta;\u0026upsilon;\u0026lambda;ώ\u0026nu;\u0026alpha;\u0026sigmaf;. \u0026Sigma;\u0026epsilon; \u0026mu;\u0026epsilon;\u0026gamma;ά\u0026lambda;\u0026eta; \u0026gamma;\u0026iota;\u0026omicron;\u0026rho;\u0026tau;ή \u0026mu;\u0026epsilon;\u0026tau;ά \u0026tau;\u0026eta;\u0026nu; \u0026pi;\u0026omicron;\u0026lambda;\u0026iota;\u0026omicron;\u0026rho;\u0026kappa;ί\u0026alpha; \u0026tau;\u0026eta;\u0026sigmaf; \u0026Iota;\u0026epsilon;\u0026rho;\u0026omicron;\u0026upsilon;\u0026sigma;\u0026alpha;\u0026lambda;ή\u0026mu; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta; \u0026lambda;\u0026epsilon;\u0026eta;\u0026lambda;\u0026alpha;\u0026sigma;ί\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Nu;\u0026alpha;\u0026omicron;ύ, \u0026epsilon;\u0026mu;\u0026phi;\u0026alpha;\u0026nu;ί\u0026zeta;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026sigma;\u0026tau;\u0026omicron;\u0026nu; \u0026tau;\u0026omicron;ί\u0026chi;\u0026omicron; \u0026pi;\u0026rho;\u0026omicron;\u0026phi;\u0026eta;\u0026tau;\u0026iota;\u0026kappa;ή \u0026gamma;\u0026rho;\u0026alpha;\u0026phi;ή ό\u0026tau;\u0026iota; \u0026omicron;\u0026iota; \u0026mu;έ\u0026rho;\u0026epsilon;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026iota;\u0026delta;ί\u0026omicron;\u0026upsilon; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron;\u0026upsilon; \u0026beta;\u0026alpha;\u0026sigma;\u0026iota;\u0026lambda;\u0026epsilon;ί\u0026omicron;\u0026upsilon; \u0026tau;\u0026omicron;\u0026upsilon; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026mu;\u0026epsilon;\u0026tau;\u0026rho;\u0026eta;\u0026mu;έ\u0026nu;\u0026epsilon;\u0026sigmaf;. \u003cem\u003e\u0026laquo;\u003c/em\u003e\u003cem\u003e\u0026Zeta;\u0026upsilon;\u0026gamma;ί\u0026sigma;\u0026tau;\u0026eta;\u0026kappa;\u0026epsilon;\u0026sigmaf; \u0026sigma;\u0026tau;\u0026eta; \u0026zeta;\u0026upsilon;\u0026gamma;\u0026alpha;\u0026rho;\u0026iota;ά \u0026tau;\u0026omicron;\u0026upsilon; \u0026Theta;\u0026epsilon;\u0026omicron;ύ \u0026kappa;\u0026alpha;\u0026iota; \u0026phi;ά\u0026nu;\u0026eta;\u0026kappa;\u0026epsilon;\u0026sigmaf; \u0026lambda;\u0026iota;\u0026pi;\u0026omicron;\u0026beta;\u0026alpha;\u0026rho;ή\u0026sigmaf;.\u003c/em\u003e\u003cem\u003e\u0026raquo;\u003c/em\u003e \u0026Mu;\u0026upsilon;\u0026sigma;\u0026tau;\u0026eta;\u0026rho;\u0026iota;ώ\u0026delta;\u0026epsilon;\u0026sigmaf; \u0026chi;έ\u0026rho;\u0026iota; έ\u0026gamma;\u0026rho;\u0026alpha;\u0026psi;\u0026epsilon; \u0026tau;\u0026iota;\u0026sigmaf; \u0026lambda;έ\u0026xi;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026sigma;\u0026tau;\u0026omicron;\u0026nu; \u0026tau;\u0026omicron;ί\u0026chi;\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon; \u0026pi;\u0026alpha;\u0026lambda;\u0026alpha;\u0026tau;\u0026iota;\u0026omicron;ύ, \u0026kappa;\u0026alpha;\u0026iota; \u0026mu;ό\u0026nu;\u0026omicron; \u0026omicron; \u0026Delta;\u0026alpha;\u0026nu;\u0026iota;ή\u0026lambda; \u0026mu;\u0026pi;\u0026omicron;\u0026rho;\u0026epsilon;ί \u0026nu;\u0026alpha; \u0026tau;\u0026iota;\u0026sigmaf; \u0026epsilon;\u0026rho;\u0026mu;\u0026eta;\u0026nu;\u0026epsilon;ύ\u0026sigma;\u0026epsilon;\u0026iota;. \u0026Tau;\u0026omicron; ί\u0026delta;\u0026iota;\u0026omicron; \u0026beta;\u0026rho;ά\u0026delta;\u0026upsilon;, \u0026omicron; \u0026beta;\u0026alpha;\u0026sigma;\u0026iota;\u0026lambda;\u0026iota;ά\u0026sigmaf; \u0026delta;\u0026omicron;\u0026lambda;\u0026omicron;\u0026phi;\u0026omicron;\u0026nu;\u0026epsilon;ί\u0026tau;\u0026alpha;\u0026iota;. Ό\u0026tau;\u0026alpha;\u0026nu; \u0026omicron; \u0026Delta;\u0026alpha;\u0026rho;\u0026epsilon;ί\u0026omicron;\u0026sigmaf; \u0026alpha;\u0026nu;\u0026epsilon;\u0026beta;\u0026alpha;ί\u0026nu;\u0026epsilon;\u0026iota; \u0026sigma;\u0026tau;\u0026omicron;\u0026nu; \u0026theta;\u0026rho;ό\u0026nu;\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon; \u0026beta;\u0026alpha;\u0026sigma;\u0026iota;\u0026lambda;\u0026epsilon;ί\u0026omicron;\u0026upsilon;, \u0026omicron; \u0026Delta;\u0026alpha;\u0026nu;\u0026iota;ή\u0026lambda; \u0026delta;\u0026omicron;\u0026xi;ά\u0026zeta;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota;.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026Tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u003cem\u003eThe Fallen Warning\u003c/em\u003e [\u003cem\u003e\u0026Pi;\u0026epsilon;\u0026sigma;\u0026mu;έ\u0026nu;\u0026eta; \u0026pi;\u0026rho;\u0026omicron;\u0026epsilon;\u0026iota;\u0026delta;\u0026omicron;\u0026pi;\u0026omicron;ί\u0026eta;\u0026sigma;\u0026eta;]\u003c/em\u003e, \u0026tau;\u0026omicron;\u0026upsilon; \u0026beta;έ\u0026lambda;\u0026gamma;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta; \u0026Zeta;\u0026epsilon;\u0026phi; \u0026Gamma;\u0026iota;\u0026epsilon;\u0026sigmaf;, \u0026phi;\u0026alpha;ί\u0026nu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026epsilon;\u0026kappa; \u0026pi;\u0026rho;ώ\u0026tau;\u0026eta;\u0026sigmaf; ό\u0026psi;\u0026epsilon;\u0026omega;\u0026sigmaf; \u0026delta;\u0026iota;\u0026alpha;\u0026kappa;\u0026omicron;\u0026sigma;\u0026mu;\u0026eta;\u0026tau;\u0026iota;\u0026kappa;ό \u0026kappa;\u0026alpha;\u0026iota; \u0026epsilon;\u0026sigma;\u0026tau;έ\u0026tau;, \u0026mu;\u0026epsilon; \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026epsilon;\u0026beta;\u0026rho;\u0026alpha;ϊ\u0026kappa;\u0026omicron;ύ\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026chi;\u0026alpha;\u0026rho;\u0026alpha;\u0026kappa;\u0026tau;ή\u0026rho;\u0026epsilon;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026pi;\u0026alpha;\u0026sigma;\u0026tau;έ\u0026lambda; \u0026tau;ό\u0026nu;\u0026omicron;\u0026upsilon;\u0026sigmaf;· \u0026tau;\u0026omicron; \u0026beta;\u0026alpha;\u0026theta;ύ\u0026tau;\u0026epsilon;\u0026rho;\u0026omicron; \u0026nu;ό\u0026eta;\u0026mu;ά \u0026tau;\u0026omicron;\u0026upsilon;, ό\u0026mu;\u0026omega;\u0026sigmaf;, \u0026sigma;\u0026upsilon;\u0026gamma;\u0026kappa;\u0026rho;\u0026omicron;ύ\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026mu;\u0026epsilon; \u0026tau;\u0026eta;\u0026nu; \u0026alpha;\u0026upsilon;\u0026tau;ά\u0026rho;\u0026epsilon;\u0026sigma;\u0026kappa;\u0026eta; \u0026mu;\u0026alpha;\u0026kappa;\u0026alpha;\u0026rho;\u0026iota;ό\u0026tau;\u0026eta;\u0026tau;ά \u0026mu;\u0026alpha;\u0026sigmaf;. \u0026Eta; \u0026alpha;\u0026iota;\u0026sigma;\u0026theta;\u0026eta;\u0026tau;\u0026iota;\u0026kappa;ή \u0026laquo;\u0026sigma;\u0026upsilon;\u0026sigma;\u0026kappa;\u0026epsilon;\u0026upsilon;\u0026alpha;\u0026sigma;ί\u0026alpha;\u0026raquo; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026alpha;\u0026nu;\u0026alpha;\u0026pi;ό\u0026sigma;\u0026pi;\u0026alpha;\u0026sigma;\u0026tau;\u0026omicron; \u0026sigma;\u0026tau;\u0026omicron;\u0026iota;\u0026chi;\u0026epsilon;ί\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon; \u0026phi;\u0026omicron;\u0026rho;\u0026tau;\u0026iota;\u0026sigma;\u0026mu;έ\u0026nu;\u0026omicron;\u0026upsilon; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026epsilon;\u0026chi;\u0026omicron;\u0026mu;έ\u0026nu;\u0026omicron;\u0026upsilon;: \u0026eta; \u0026alpha;\u0026iota;\u0026sigma;\u0026theta;\u0026eta;\u0026tau;\u0026iota;\u0026kappa;ή \u0026alpha;\u0026pi;\u0026omicron;\u0026tau;\u0026epsilon;\u0026lambda;\u0026epsilon;ί έ\u0026nu;\u0026alpha; \u0026epsilon;ί\u0026delta;\u0026omicron;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026mu;\u0026omicron;\u0026upsilon;\u0026phi;\u0026lambda;ά\u0026zeta;, \u0026mu;\u0026epsilon; \u0026tau;\u0026omicron; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026omicron; \u0026omicron; \u0026Gamma;\u0026iota;\u0026epsilon;\u0026sigmaf; \u0026alpha;\u0026pi;\u0026omicron;\u0026kappa;\u0026eta;\u0026rho;ύ\u0026tau;\u0026tau;\u0026epsilon;\u0026iota; \u0026tau;\u0026eta;\u0026nu; \u0026epsilon;\u0026pi;\u0026iota;\u0026tau;ή\u0026delta;\u0026epsilon;\u0026upsilon;\u0026sigma;\u0026eta; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta;\u0026nu; έ\u0026lambda;\u0026lambda;\u0026epsilon;\u0026iota;\u0026psi;\u0026eta; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026epsilon;\u0026chi;\u0026omicron;\u0026mu;έ\u0026nu;\u0026omicron;\u0026upsilon; (\u0026kappa;\u0026alpha;\u0026mu;\u0026omicron;\u0026upsilon;\u0026phi;\u0026lambda;ά\u0026zeta;) \u0026sigma;\u0026tau;\u0026omicron;\u0026nu; \u0026kappa;ό\u0026sigma;\u0026mu;\u0026omicron; \u0026tau;\u0026eta;\u0026sigmaf; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf;. \u0026Eta; \u0026beta;\u0026iota;\u0026beta;\u0026lambda;\u0026iota;\u0026kappa;ή \u0026pi;\u0026rho;\u0026omicron;\u0026epsilon;\u0026iota;\u0026delta;\u0026omicron;\u0026pi;\u0026omicron;ί\u0026eta;\u0026sigma;\u0026eta; \u0026mu;\u0026pi;\u0026omicron;\u0026rho;\u0026epsilon;ί \u0026nu;\u0026alpha; \u0026epsilon;\u0026kappa;\u0026lambda;\u0026eta;\u0026phi;\u0026theta;\u0026epsilon;ί \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;\u0026iota;\u0026kappa;ά \u0026omega;\u0026sigmaf; \u0026sigma;\u0026chi;ό\u0026lambda;\u0026iota;\u0026omicron; \u0026pi;ά\u0026nu;\u0026omega; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026epsilon;\u0026mu;\u0026pi;\u0026omicron;\u0026rho;\u0026epsilon;\u0026upsilon;\u0026mu;\u0026alpha;\u0026tau;\u0026omicron;\u0026pi;\u0026omicron;ί\u0026eta;\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026kappa;ό\u0026sigma;\u0026mu;\u0026omicron;\u0026upsilon; \u0026tau;\u0026eta;\u0026sigmaf; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf;. Ί\u0026sigma;\u0026omega;\u0026sigmaf; \u0026epsilon;\u0026pi;ί\u0026sigma;\u0026eta;\u0026sigmaf; \u0026alpha;\u0026nu;\u0026alpha;\u0026phi;έ\u0026rho;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026sigma;\u0026tau;\u0026eta; \u0026sigma;\u0026chi;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha; \u0026tau;\u0026eta;\u0026sigmaf; \u0026delta;ύ\u0026nu;\u0026alpha;\u0026mu;\u0026eta;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026epsilon;\u0026xi;\u0026omicron;\u0026upsilon;\u0026sigma;ί\u0026alpha;\u0026sigmaf;. \u0026Tau;\u0026alpha; \u0026gamma;\u0026rho;ά\u0026mu;\u0026mu;\u0026alpha;\u0026tau;\u0026alpha; έ\u0026chi;\u0026omicron;\u0026upsilon;\u0026nu; \u0026pi;έ\u0026sigma;\u0026epsilon;\u0026iota; \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron;\u0026nu; \u0026tau;\u0026omicron;ί\u0026chi;\u0026omicron;, \u0026upsilon;\u0026pi;ό \u0026tau;\u0026omicron; ί\u0026delta;\u0026iota;\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf; \u0026tau;\u0026omicron; \u0026beta;ά\u0026rho;\u0026omicron;\u0026sigmaf;, \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron; \u0026mu;ό\u0026nu;\u0026omicron; \u0026pi;\u0026omicron;\u0026upsilon; \u0026alpha;\u0026pi;\u0026omicron;\u0026mu;έ\u0026nu;\u0026epsilon;\u0026iota; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron; ί\u0026chi;\u0026nu;\u0026omicron;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon;\u0026sigmaf;.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026Sigma;\u0026tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon;, \u0026omicron; \u0026Zeta;\u0026epsilon;\u0026phi; \u0026Gamma;\u0026iota;\u0026epsilon;\u0026sigmaf; \u0026delta;\u0026iota;\u0026alpha;\u0026tau;\u0026eta;\u0026rho;\u0026epsilon;ί \u0026pi;ά\u0026nu;\u0026tau;\u0026omicron;\u0026tau;\u0026epsilon; \u0026alpha;\u0026nu;\u0026omicron;\u0026iota;\u0026chi;\u0026tau;\u0026omicron;ύ\u0026sigmaf; \u0026lambda;\u0026omicron;\u0026gamma;\u0026alpha;\u0026rho;\u0026iota;\u0026alpha;\u0026sigma;\u0026mu;\u0026omicron;ύ\u0026sigmaf; \u0026mu;\u0026epsilon; \u0026tau;\u0026omicron; \u0026Kappa;\u0026alpha;\u0026tau;\u0026epsilon;\u0026sigma;\u0026tau;\u0026eta;\u0026mu;έ\u0026nu;\u0026omicron;. \u0026Tau;\u0026omicron; ό\u0026pi;\u0026lambda;\u0026omicron; \u0026pi;\u0026omicron;\u0026upsilon; \u0026epsilon;\u0026pi;\u0026iota;\u0026lambda;έ\u0026gamma;\u0026epsilon;\u0026iota; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026eta; \u0026kappa;\u0026rho;\u0026iota;\u0026tau;\u0026iota;\u0026kappa;ή \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026alpha;\u0026upsilon;\u0026tau;ό\u0026chi;\u0026rho;\u0026omicron;\u0026nu;\u0026alpha; \u0026chi;\u0026alpha;\u0026rho;\u0026alpha;\u0026kappa;\u0026tau;\u0026eta;\u0026rho;\u0026iota;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ά \u0026pi;\u0026alpha;\u0026iota;\u0026gamma;\u0026nu;\u0026iota;ώ\u0026delta;\u0026eta;\u0026sigmaf; \u0026mu;\u0026alpha;\u0026tau;\u0026iota;ά \u0026tau;\u0026omicron;\u0026upsilon;. \u0026Tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon; \u0026alpha;\u0026pi;\u0026lambda;ώ\u0026nu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026sigma;\u0026epsilon; \u0026tau;ό\u0026sigma;\u0026omicron; \u0026pi;\u0026omicron;\u0026lambda;\u0026lambda;ά \u0026kappa;\u0026alpha;\u0026iota; \u0026delta;\u0026iota;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ά \u0026epsilon;ί\u0026delta;\u0026eta; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026epsilon;\u0026chi;\u0026nu;\u0026iota;\u0026kappa;έ\u0026sigmaf;, \u0026pi;\u0026omicron;\u0026upsilon; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026alpha;\u0026delta;ύ\u0026nu;\u0026alpha;\u0026tau;\u0026omicron; \u0026nu;\u0026alpha; \u0026tau;\u0026omicron;\u0026nu; \u0026kappa;\u0026alpha;\u0026tau;\u0026alpha;\u0026tau;ά\u0026xi;\u0026omicron;\u0026upsilon;\u0026mu;\u0026epsilon; \u0026sigma;\u0026epsilon; \u0026mu;ί\u0026alpha; \u0026sigma;\u0026upsilon;\u0026gamma;\u0026kappa;\u0026epsilon;\u0026kappa;\u0026rho;\u0026iota;\u0026mu;έ\u0026nu;\u0026eta; \u0026kappa;\u0026alpha;\u0026tau;\u0026eta;\u0026gamma;\u0026omicron;\u0026rho;ί\u0026alpha;. \u0026Tau;\u0026omicron; \u0026sigma;\u0026eta;\u0026mu;\u0026alpha;\u0026nu;\u0026tau;\u0026iota;\u0026kappa;ό\u0026tau;\u0026epsilon;\u0026rho;\u0026omicron; \u0026gamma;\u0026iota;\u0026#39; \u0026alpha;\u0026upsilon;\u0026tau;ό\u0026nu; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026nu;\u0026alpha; \u0026kappa;\u0026alpha;\u0026tau;\u0026alpha;\u0026phi;έ\u0026rho;\u0026epsilon;\u0026iota; \u0026nu;\u0026alpha; \u0026pi;\u0026epsilon;\u0026rho;ά\u0026sigma;\u0026epsilon;\u0026iota; \u0026tau;\u0026omicron; \u0026mu;ή\u0026nu;\u0026upsilon;\u0026mu;ά \u0026tau;\u0026omicron;\u0026upsilon;, \u0026kappa;\u0026alpha;\u0026iota; \u0026epsilon;\u0026pi;\u0026iota;\u0026lambda;έ\u0026gamma;\u0026epsilon;\u0026iota; \u0026tau;\u0026eta; \u0026mu;\u0026omicron;\u0026rho;\u0026phi;ή \u0026pi;\u0026omicron;\u0026upsilon; \u0026omicron; ί\u0026delta;\u0026iota;\u0026omicron;\u0026sigmaf; \u0026theta;\u0026epsilon;\u0026omega;\u0026rho;\u0026epsilon;ί \u0026kappa;\u0026alpha;\u0026tau;\u0026alpha;\u0026lambda;\u0026lambda;\u0026eta;\u0026lambda;ό\u0026tau;\u0026epsilon;\u0026rho;\u0026eta; \u0026gamma;\u0026iota;\u0026alpha; \u0026nu;\u0026alpha; \u0026tau;\u0026omicron; \u0026pi;\u0026epsilon;\u0026tau;ύ\u0026chi;\u0026epsilon;\u0026iota;. \u0026Omicron; \u0026Zeta;\u0026epsilon;\u0026phi; \u0026Gamma;\u0026iota;\u0026epsilon;\u0026sigmaf; \u0026theta;έ\u0026lambda;\u0026epsilon;\u0026iota; \u0026nu;\u0026alpha; \u0026mu;\u0026alpha;\u0026sigmaf; \u0026kappa;ά\u0026nu;\u0026epsilon;\u0026iota; \u0026nu;\u0026alpha; \u0026sigma;\u0026kappa;\u0026epsilon;\u0026phi;\u0026tau;\u0026omicron;ύ\u0026mu;\u0026epsilon; \u0026tau;\u0026iota; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026alpha;\u0026upsilon;\u0026tau;ό \u0026pi;\u0026omicron;\u0026upsilon; \u0026alpha;\u0026pi;\u0026omicron;\u0026kappa;\u0026alpha;\u0026lambda;\u0026omicron;ύ\u0026mu;\u0026epsilon; \u0026laquo;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026raquo;. \u0026Epsilon;\u0026delta;ώ, \u0026tau;\u0026eta; \u0026beta;ά\u0026sigma;\u0026eta; \u0026gamma;\u0026iota;\u0026alpha; \u0026nu;\u0026alpha; \u0026tau;\u0026omicron; \u0026pi;\u0026epsilon;\u0026tau;ύ\u0026chi;\u0026epsilon;\u0026iota; \u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026phi;έ\u0026rho;\u0026epsilon;\u0026iota; \u0026mu;\u0026iota;\u0026alpha; \u0026sigma;ύ\u0026nu;\u0026theta;\u0026epsilon;\u0026sigma;\u0026eta; \u0026zeta;\u0026omega;ή\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf;.\u003c/p\u003e\r\n","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/000/011/319/large/Geys__Jef__De_gevallen_verwittiging__1985__foto_Heirman__Graphics.JPG?1343129979","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u0026quot;Meneh, meneh, tishqol vetikhalaq\u0026quot;\u003c/strong\u003e\u003c/em\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Beware, beware, you have been weighed on the scales and found wanting.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e(Hebrew citation from the Old Testament, Book of Daniel)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThis text refers to the story of the fall of Babylonian King Belshazzar. During a feast to celebrate his siege of Jerusalem and the plundering of the Temple, a prophetic writing appears on the wall, stating that his days, and those of his kingdom, are numbered. \u003cem\u003e\u0026ldquo;You have been weighed (in God\u0026rsquo;s scales) and found wanting.\u0026rdquo;\u003c/em\u003e A mysterious hand wrote the words on the palace wall, and only Daniel can read (interpret) them. The king is slain that very night; Daniel is subsequently elevated when Darius takes over the kingdom.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe Fallen Warning\u003c/em\u003e\u0026nbsp;by Belgian artist Jef Geys, at first sight might appear decorative and aesthetic with its Hebrew letters and pastel colors, but its underlying meaning collides with our complacency. The aesthetic \u0026lsquo;packaging\u0026rsquo; is a fundamental part of the loaded content: the aesthetic is a sort of camouflage, with which Geys denounces the pretension and lack of content (\u0026#39;camouflage\u0026#39;) in the art world. The Biblical warning may be taken as a metaphor for the commercialized art world, or perhaps it refers to the relativity of power. The letters have fallen from the wall, sunk under their own weight; what remains is but a print.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn his oeuvre, Jef Geys is always settling scores with The Establishment. His weapon of choice is his own critical, though rather playful, vision. His work comprises so many diverse art forms and materials, that it is impossible to characterize him under any single heading. Most important for him is getting his message across, and he chooses the form he feels most fitting to the task. Geys wants us to reflect on just what is it that we call \u0026lsquo;art\u0026rsquo;. Here, a synthesis between life and art serves as the basis. Since the 1960s, Geys has confronted the art circuit with its inherent shortcomings.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u0026quot;Meneh, meneh, tishqol vetikhalaq\u0026quot;\u003c/strong\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u0026#39;Pas op, pas op, gij zijt gewogen en gij zult uw deel krijgen.\u0026#39;\u003c/strong\u003e\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e(Hebreeuws citaat uit het Oude Testament, Dani\u0026euml;l)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDeze tekst verwijst naar het verhaal van de ondergang van het rijk van Koning Belsazar. Tijdens een feestgelag ter ere van Belsazars belegering van Jeruzalem en de plundering van de tempel, verschenen de profetische woorden die aan Belsazar verkondigden dat God zijn koningsschap had geteld en er een eind aan had gemaakt. \u003cem\u003e\u0026ldquo;Gij zijt in de weegschaal gewogen en te licht bevonden.\u0026rdquo;\u003c/em\u003e\u0026nbsp;Een mysterieuze hand schreef de woorden in lichtende letters op de muur van het paleis en enkel Dani\u0026euml;l kon het geschrift lezen, waarmee hij tot derde opvolger van het rijk werd gekroond.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDe Gevallen Verwittiging\u003c/em\u003e\u0026nbsp;van de Belgische kunstenaar Jef Geys lijkt op het eerste gezicht misschien decoratief en esthetisch met de Hebreeuwse letters en de pasteltinten, maar de achterliggende betekenis doorbreekt ons welbehagen. De esthetische \u0026lsquo;verpakking\u0026rsquo; maakt integraal deel uit van de geladen inhoud: de esthetiek is een soort camouflage, waarmee Geys het camoufleren in de kunstwereld, het ophouden van de schone schijn die geen inhoud dekt, aan de kaak stelt. De Bijbelse waarschuwende woorden kunnen een metafoor zijn voor de gecommercialiseerde kunstwereld of misschien een verwijzing naar de macht en haar relativiteit. De letters zijn van de muur gevallen, bezweken onder hun gewicht, wat rest is slechts een afdruk.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn zijn oeuvre rekent Jef Geys voortdurend af met Het Establishment. Niet op leven en dood, maar met een speelse en toch kritische blik. Zijn werk bestaat uit zoveel uiteenlopende kunstvormen en materialen dat we hem niet onder \u0026eacute;\u0026eacute;n noemer kunnen vatten. Het belangrijkste is de boodschap die hij wil overbrengen en hij kiest hiervoor de vorm die het meest geschikt is. Geys wil ons denken stimuleren over wat wij kunst noemen. Een synthese tussen leven en kunst is hierbij de basis. Sinds de jaren zestig confronteert hij het kunstcircuit met haar tekortkomingen.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":7089,"title":"Jef Geys - Al de zwart-wit foto's tot 1998","dimensions":"30,5 cm x 25 cm, 500 p.","date_begin":"1998-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Artist publication ; Artist book ; Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1997/635","stream_count_app":19,"permalink":"jef-geys-al-de-zwart-wit-foto-s-tot-1998","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/559/large/DSC_5412.jpg?1366293712","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003eIn 1998 Jef Geys publishes a volume with the prosaic, self-explanatory title \u003cem\u003e- All the black-and-white photographs up to 1998\u003c/em\u003e: a weighty tome of some 500 pages, filled with contact prints of all the photographs made by the artist over the last forty years.\u0026nbsp; This important book offers a panoramic survey of the artist as remorseless observer and chronicler of his (own) history.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 2002, Jef Geys was one of four Belgian artists chosen for Documenta 11 curated by Okwui Enwezor.\u0026nbsp; There he presented his piece \u003cem\u003eDag en Nacht en Dag en\u0026hellip; / Day and Night and Day and\u0026hellip;\u003c/em\u003e, a 36-hour film in black-and-white wherein an endless series of photographs made by the artist from \u003cem\u003eAll the black-and-white photographs up to 1998\u003c/em\u003e\u0026nbsp;are edited together, and yield a hypnotically slow procession.\u0026nbsp; Jef Geys is one of Belgium\u0026#39;s most radical and influential artists.\u0026nbsp; For decades now, his work has enjoyed international attention.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Provinciaal Centrum voor Beeldende Kunsten Begijnhof, Hasselt (Belgium).\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn 1998 publiceert Jef Geys een boekwerk met de proza\u0026iuml;sche, zichzelf verklarende titel\u0026nbsp;\u003cem\u003eAl de zwart-wit Fotos tot 1998\u003c/em\u003e: een vuistdik boek van 500 bladzijden gevuld met alle contactafdrukken van alle door de kunstenaar gemaakte foto\u0026rsquo;s van de laatste veertig jaar\u003cem\u003e. \u0026nbsp;Al de zwart-wit Fotos tot 1998\u003c/em\u003e\u0026nbsp;biedt in een panoramische oogopslag een overzicht van de kunstenaar als meedogenloos observator en chroniqueur van de (eigen) geschiedenis.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 2002 is Jef Geys \u0026eacute;\u0026eacute;n van de vier Belgische kunstenaars in de door Okwui Enwezor samengestelde elfde Documenta. Daar toont hij het werk\u0026nbsp;\u003cem\u003eDag en Nacht en Dag en\u0026hellip; / Day and Night and Day and\u0026hellip;\u003c/em\u003e, een 36 uur durende zwart-wit film waarin een eindeloze reeks door de kunstenaar zelf gemaakte foto\u0026rsquo;s uit\u0026nbsp;\u003cem\u003eAl de zwart-wit Fotos tot 1998\u003c/em\u003e\u0026nbsp;elkaar tergend, hypnotisch langzaam opvolgden. Jef Geys is \u0026eacute;\u0026eacute;n van Belgi\u0026euml;\u0026rsquo;s meest radicale en invloedrijke kunstenaars, wiens werk reeds decennia internationale aandacht geniet.\u003c/p\u003e\r\n\r\n\u003cp\u003eUitgever/Publisher : Provinciaal Centrum voor Beeldende Kunsten Begijnhof, Hasselt (Belgi\u0026euml;).\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":7410,"title":"Uruguay - Montevideo - Architect unknown","dimensions":"40 x 35.5 x 27 cm","date_begin":"1991-01-01","material":"wood, plexi","short_description":"","art_status_id":13,"legal_status_id":12,"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":"","date_end":null,"reference":"BK5929_d1","stream_count_app":20,"permalink":"uruguay-montevideo-architect-unknown--4","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/878/large/Geys__Jef__BK2929_DMontevideo__Uruguay__1991_photo_A4Avzw.jpg?1367487556","poster_credits":"(c)M HKA","translations":[{"locale":"en","description":"On view here are four maquettes based on four larger structures made by Jef Geys. These four structures were made – as part of a series of eighteen pieces – for the Sao Paulo Art Biennial in 1991. The artist Jef Geys made them in collaboration with architect Guy Mertens. Like the titles suggests, they are structures of existing buildings in Europe and South America. Resized to human scale and rid of their interior, they are reduced to merely shapes. The artist showed the works at the Biennial and consequently sent maquettes of these to the headquarters of European and South American football organizations, to be placed in their respective trophy cabinets during the period of this art festival. There was a six-pointed star on each structure, a shape with a loaded content: one use of the six-pointed star was as an identification label for concentration-camp prisoners in WWII. Geys painted these stars in the national colors of the involved countries.  According to Geys, sports stadiums are ever more frequently used as super-prisons. For this reason he brought together architecture, football and history in his Biennial project."},{"locale":"nl","description":"Hier te zien zijn vier maquettes van vier grotere structuren gemaakt door Jef Geys. Deze vier structuren werden, als onderdeel van een reeks van achttien stukken, vervaardigd ter gelegenheid van de Biënnale in Sao Paolo in 1991. De kunstenaar maakte ze in samenwerking met architect Guy Mertens. Zoals de titels doen vermoeden, zijn de structuren van bestaande gebouwen in Europa en Zuid-Amerika. Vervaardigd op mensenmaat en van hun inhoud ontdaan, worden ze enkel tot vormen herleid. De kunstenaar toonde de reeks op de Biënnale en stuurde maquettes ervan naar de hoofdzetels van de Europese en Zuid-Amerikaanse voetbalbonden om er (gedurende de looptijd van dit kunstenfestival) als trofee in hun nationale toonkasten geplaatst te worden. Op elke structuur staat een zespuntige ster, een vorm met een beladen inhoud: deze ster deed onder meer dienst als een herkenningsteken dat gevangenen droegen in concentratiekampen tijdens de Tweede Wereldoorlog. Geys schilderde ze in de kleuren van de betrokken landen. Volgens Geys worden sportstadia meer en meer gebouwd en gebruikt als supergevangenissen. Om die reden bracht hij tijdens de Biënnale architectuur, voetbal en geschiedenis samen. "},{"locale":"fr","description":""}]},{"id":5763,"title":"Foto Academie Geel","dimensions":"100 x 70 cm","date_begin":"1991-01-01","material":"photo","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2009-01-01","reference":"S0428_7","stream_count_app":10,"permalink":"foto-academie-geel","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":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13789,"title":"Martin Douven - Leopoldsburg - Jef Geys (Kempens Informatieblad 2011)","dimensions":"44 x 30.5 cm, language : Dutch, English, French, German, publisher : Museum van Hedendaagse Kunst, Antwerpen","date_begin":"2011-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2024/127","stream_count_app":8,"permalink":"martin-douven-leopoldsburg-jef-geys-kempens-informatieblad-2011","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/284/large/__Photo_M_HKA__111.jpg?1458552657","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eTexts : Bart De Baere (Director M HKA), Zhang Jing, Griet Wynants, Joris Note, Salomon Bouman, Marie-Ange Brayer \u0026amp; Franz W. Kaiser.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eAvailable in the M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eTexts : Bart De Baere (Director M HKA), Zhang Jing, Griet Wynants, Joris Note, Salomon Bouman, Marie-Ange Brayer \u0026amp; Franz W. Kaiser.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eVerkrijgbaar in de M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eTexts : Bart De Baere (Director M HKA), Zhang Jing, Griet Wynants, Joris Note, Salomon Bouman, Marie-Ange Brayer \u0026amp; Franz W. Kaiser.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eDisponible dans le M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"}]},{"id":14320,"title":"Zonder titel (Wielrenner)","dimensions":"","date_begin":"1969-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Verzameling F. De Beir","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"zonder-titel-wielrenner","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/000/032/912/large/2016_Van_Broodthaers_tot_Braeckman__8.jpg?1475501993","poster_credits":"Image: (c) M HKA, Verzameling F. De Beir","translations":[{"locale":"en","description":"\u003cp\u003eThe first major work in which photography played a prominent role from the start is a work about a young cyclist, created in 1968-1969. It consists of a sequence of framed documents (typed letters, clippings, and an address book) and black-and-white photographs that were glued onto fiberboard and cardboard. The story goes as follows: War Jonckers, a bartender at \u0026ldquo;Bar 900\u0026rdquo; and a friend of Geys, had a 15-year-old son, Roger, who appeared to be good at cycling. It was also during this same time that the famous cyclist Eddy Merckx was a rising star and served as an example for many young Belgian boys like Roger. Geys became the guardian of Roger and coached him for his participation in (church) festival races. In return, he asked Roger to describe his experiences, and Geys would write them down. Geys then sent these descriptions to certain people he knew in the art world who were listed in the address book included in the work. During the summer, Geys travelled to the south of France to follow Merckx in the Tour de France. He then reported back to Roger by means of letters and photographs about Merckx\u0026rsquo;s cycling techniques and day-to-day habits. Strikingly, Geys began his letters to Roger with the salutation \u0026ldquo;Dear Jef,\u0026rdquo; as if it had been Roger who wrote the letters to him. (J. Geys, Interview, Balen, February 15, 2010) The identities of Geys and the boy gradually intermingled. According to Geys, the aim of the project was \u0026ldquo;to come as close as possible to the boy, trying to capture the phenomenon as accurately and completely as possible.\u0026rdquo; [my translation] (De Coninck, 1972: 30) Therefore, he carefully wrote down his and the boy\u0026rsquo;s experiences. \u0026ldquo;I was not interested in the background, the corruption within cycling,\u0026rdquo; he said, \u0026ldquo;I was interested in what happens with the little guy, where it all begins, how and when you could proceed to shoot, for, at a certain moment, we all shoot, so to speak.\u0026rdquo; [my translation] (ibid.) In the 1971 interview conducted by Flor Bex, Geys said:\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left:35.4pt;\"\u003eI wanted to examine what was going on in the mind of that boy, what the influences from his family circle meant, etc. So, day after day I followed him. Every Sunday we drove to a race. I regularly sent messages about the boy to a number of randomly chosen addresses. The aim was to fully insinuate myself into a situation in order to understand it and then communicate about the whole purpose to an audience. [my translation] (Bex, 1971: n.p.)\u003c/p\u003e\r\n\r\n\u003cp\u003eLiesbeth Decan, \u003cem\u003eConceptual, Surrealist, Pictorial: Photo-based Art in Belgium (1960s \u0026ndash; early 1990s)\u003c/em\u003e, Leuven University Press, 2016, pp. 69 \u0026ndash; 70\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn 1968-1969 maakte Geys zijn eerste grote werk waarin foto\u0026rsquo;s vanaf het begin een prominente rol spelen. Het bestaat uit een reeks ingelijste documenten (getikte brieven, knipsels en een adresboekje) en op vezelplaat of karton geplakte zwart-witfoto\u0026rsquo;s. Onderwerp: het leven van Roger, een jonge wielrenner, de 15- jarige zoon van War Jonckers, barman in \u0026lsquo;Bar 900\u0026rsquo; en bevriend met de kunstenaar. Eddy Merckx was toen een rijzende ster en een rolmodel voor veel Belgische jongens. Geys werd Rogers beschermengel en coachte de jongen bij kermiskoersen. In ruil daarvoor verwachtte hij dat Roger hem zijn ervaringen zou vertellen zodat hij, Geys, die kon neerschrijven. Die verhalen stuurde hij dan naar bekenden uit de kunstwereld waarvan hij de adressen had opgetekend in het boekje dat deel uitmaakt van het werk. In de zomer reisde hij naar het zuiden van Frankrijk om er Merckx te volgen in de Ronde van Frankrijk. Roger kreeg dan van hem brieven en foto\u0026rsquo;s die een idee moesten geven van de fietstechniek en de leefstijl van Merckx tijdens de grote wedstrijd. Wat opvalt is dat Geys zijn brieven aan Roger begint met \u0026lsquo;Beste Jef\u0026rsquo;, alsof het ging om brieven van Roger aan Geys. Hun beider identiteiten raakten stilaan verstrengeld. Naar eigen zeggen trachtte Geys met dit project: \u0026lsquo;hem zo dicht mogelijk te benaderen, de realiteit van dat fenomeen zo akkuraat en zo totaal mogelijk vast te leggen.\u0026rsquo; Daarom noteerde hij zorgvuldig wat er in hem en de jongen omging: \u0026lsquo;Mij interesseren b.v. niet de achtergronden, de korruptie in de wielersport, mij interesseert wat er met die kleine gebeurt, waar \u0026lsquo;t allemaal begint, hoe en wanneer je tot spuiten zou kunnen komen, want op zeker ogenblik spuiten we allemaal bij wijze van spreken.\u0026rsquo; In het interview dat Flor Bex in 1971 van hem afnam, zei Geys:\u003c/p\u003e\r\n\r\n\u003cp style=\"margin-left: 40px;\"\u003e\u0026lsquo;Ik heb willen nagaan wat er allemaal omging in het brein van die jongen, wat de invloeden van zijn familiekring betekenden enz. Dag na dag heb ik hem dus gevolgd. Elke zondag reden wij samen naar een koers. Aan een deel op goed geluk gekozen adressen zond ik regelmatig berichten over die jongen. Dit alles om ergens weer volledig in te dringen om het te kunnen begrijpen en daarna te kunnen mededelen aan de mensen: dat was het hele opzet.\u0026rsquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eLiesbeth Decan, \u003cem\u003eConceptual, Surrealist, Pictorial: Photo-based Art in Belgium (1960s \u0026ndash; early 1990s)\u003c/em\u003e, Leuven University Press, 2016, pp. 69 \u0026ndash; 70\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEn 1968-1969, Jef Geys cr\u0026eacute;e sa premi\u0026egrave;re grande \u0026oelig;uvre dans laquelle la photographie joue d\u0026egrave;s le d\u0026eacute;part un r\u0026ocirc;le de premier plan. L\u0026rsquo;\u0026oelig;uvre se compose d\u0026rsquo;une s\u0026eacute;rie de documents encadr\u0026eacute;s (lettres dactylographi\u0026eacute;es, coupures et carnet d\u0026rsquo;adresses) et de photographies en noir et blanc coll\u0026eacute;es sur de l\u0026rsquo;agglom\u0026eacute;r\u0026eacute; ou du carton. Sujet\u0026nbsp;: La vie de Roger, un jeune coureur cycliste alors \u0026acirc;g\u0026eacute; de 15 ans, fils de War Jonckers, barman au \u0026laquo;\u0026nbsp;Bar\u0026nbsp;900\u0026nbsp;\u0026raquo; et ami de l\u0026rsquo;artiste. \u0026Agrave; l\u0026rsquo;\u0026eacute;poque, Eddy Merckx \u0026eacute;tait une \u0026eacute;toile montante et un mod\u0026egrave;le pour de nombreux jeunes Belges. Geys est devenu le protecteur et l\u0026rsquo;entra\u0026icirc;neur de Roger qui participait \u0026agrave; des crit\u0026eacute;riums cyclistes. En \u0026eacute;change, Geys attendait du jeune sportif qu\u0026rsquo;il lui raconte ses exp\u0026eacute;riences afin de pouvoir les coucher sur le papier. Ensuite, Geys a envoy\u0026eacute; ces r\u0026eacute;cits \u0026agrave; des connaissances du milieu de l\u0026rsquo;art dont il avait not\u0026eacute; les adresses dans le carnet qui fait partie de l\u0026rsquo;\u0026oelig;uvre. En \u0026eacute;t\u0026eacute;, Geys voyageait dans le sud de la France pour y suivre Merckx durant le Tour de France. Il envoyait alors des lettres et des photographies \u0026agrave; Roger pour lui donner une id\u0026eacute;e de la technique cycliste et du style de vie de Merckx pendant une grande course. Ce qui frappe est que Geys commence ses lettres adress\u0026eacute;es \u0026agrave; Roger par \u0026laquo;\u0026nbsp;\u003cem\u003eBeste Jef\u003c/em\u003e\u0026nbsp;\u0026raquo; (Cher Jef), comme s\u0026rsquo;il s\u0026rsquo;agissait de lettres que Roger lui \u0026eacute;crit. Petit \u0026agrave; petit, leurs deux identit\u0026eacute;s ont fini par se confondre. D\u0026rsquo;apr\u0026egrave;s ses dires, Geys tentait avec ce projet \u0026laquo;\u0026nbsp;d\u0026rsquo;approcher ce ph\u0026eacute;nom\u0026egrave;ne au plus pr\u0026egrave;s, d\u0026rsquo;en consigner la r\u0026eacute;alit\u0026eacute; de la mani\u0026egrave;re la plus pr\u0026eacute;cise et la plus compl\u0026egrave;te possible.\u0026nbsp;\u0026raquo; C\u0026rsquo;est pour cela qu\u0026rsquo;il a not\u0026eacute; m\u0026eacute;ticuleusement ce qu\u0026rsquo;il ressentait lui-m\u0026ecirc;me et ce que ressentait le jeune homme\u0026nbsp;: \u0026laquo;\u0026nbsp;Ce qui m\u0026rsquo;int\u0026eacute;ressait n\u0026rsquo;\u0026eacute;tait pas la toile de fond, les causes profondes, la corruption dans le cyclisme\u0026nbsp;; ma curiosit\u0026eacute; se portait sur ce qui se passait avec ce petit, o\u0026ugrave; tout cela commence-t-il, quand et comment en arrive-t-on \u0026agrave; se doper, car \u0026agrave; un certain moment on se dope tous pour ainsi dire.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eDans une interview accord\u0026eacute;e \u0026agrave; Flor Bex en 1971, Geys explique\u0026nbsp;: \u0026laquo;\u0026nbsp;J\u0026rsquo;ai voulu comprendre tout ce qui se passait dans la t\u0026ecirc;te de ce gar\u0026ccedil;on, que signifiaient les influences de son cercle familial,\u0026nbsp;etc. Je l\u0026rsquo;ai donc suivi jour apr\u0026egrave;s jour. Tous les dimanches, nous allions ensemble \u0026agrave; une course. \u0026Agrave; un certain nombre d\u0026rsquo;adresses choisies au hasard, j\u0026rsquo;envoyais r\u0026eacute;guli\u0026egrave;rement des nouvelles de ce jeune homme. Tout cela \u0026agrave; nouveau pour enti\u0026egrave;rement me plonger dans cet univers, parvenir \u0026agrave; le comprendre et ensuite pouvoir affirmer\u0026nbsp;: voil\u0026agrave; quel \u0026eacute;tait tout l\u0026rsquo;enjeu.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eLiesbeth Decan, \u003cem\u003eConceptual, Surrealist, Pictorial: Photo-based Art in Belgium (1960s \u0026ndash; early 1990s)\u003c/em\u003e, Leuven University Press, 2016, pp. 69 \u0026ndash; 70\u003c/p\u003e\r\n"}]},{"id":14486,"title":"Drie mappen - Alle foto's genomen tot 1 januari 1986","dimensions":"","date_begin":"1986-01-01","material":"","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":"Verzameling F. De Beir","cached_tag_list":"Jef Geys Zwart-wit foto","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"drie-mappen-al-de-zwart-wit-foto-s-tot-1998","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/000/032/987/large/2016_Van_Broodthaers_tot_Braeckman__9_17.jpg?1475748137","poster_credits":"Verzameling F. De Beir","translations":[{"locale":"en","description":"\u003cp\u003e\u0026quot;Geys\u0026#39;s archival practice is evident not only in his gigantic photo archive but also in his inventory of all the works he has created since his debut in 1958. The inventory, arranged chronologically, lists the following information for each work: \u0026ldquo;subject\u0026rdquo; (the title of the work), \u0026ldquo;nature\u0026rdquo; (the material(s), plus sometimes the dimensions of the work), \u0026ldquo;year,\u0026rdquo; and \u0026ldquo;number\u0026rdquo; (the number of copies, varying from 1 to \u0026ldquo;unlimited\u0026rdquo;).\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003eLiesbeth Decan, \u003cem\u003eConceptual, Surrealist, Pictorial: Photo-based Art in Belgium (1960s \u0026ndash; early 1990s)\u003c/em\u003e, Leuven University Press, 2016, p. 65\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026quot;Geys\u0026#39;s archiveren\u0026nbsp;blijkt niet alleen uit zijn enorme fotoarchief maar ook uit de door hem opgestelde inventaris van zijn werk vanaf het prille begin in 1958. De chronologische inventaris vermeldt bij elk werk het onderwerp (de titel van het werk), de aard (het materiaal /de materialen en soms ook de afmetingen van het werk), het jaartal en het aantal (het aantal kopie\u0026euml;n, dat varieert van 1 tot \u0026lsquo;onbeperkt\u0026rsquo;).\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003eLiesbeth Decan, \u003cem\u003eConceptual, Surrealist, Pictorial: Photo-based Art in Belgium (1960s \u0026ndash; early 1990s)\u003c/em\u003e, Leuven University Press, 2016, p. 65\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Il va de soi que la pratique d\u0026rsquo;archivage de Jef Geys ne se limite pas seulement \u0026agrave; ses gigantesques archives photographiques, mais inclut \u0026eacute;galement son inventaire de toutes les \u0026oelig;uvres qu\u0026rsquo;il a cr\u0026eacute;\u0026eacute;es depuis ses d\u0026eacute;buts en 1958. L\u0026rsquo;inventaire, class\u0026eacute; par ordre chronologique, r\u0026eacute;pertorie l\u0026rsquo;information suivante pour chaque \u0026oelig;uvre\u0026nbsp;: \u0026laquo;\u0026nbsp;sujet\u0026nbsp;\u0026raquo; (le titre de l\u0026rsquo;\u0026oelig;uvre), \u0026laquo;\u0026nbsp;nature\u0026nbsp;\u0026raquo; (le(s) mat\u0026eacute;riau(x) dont l\u0026rsquo;\u0026oelig;uvre est compos\u0026eacute;e, et parfois les dimensions de l\u0026rsquo;\u0026oelig;uvre), \u0026laquo;\u0026nbsp;ann\u0026eacute;e\u0026nbsp;\u0026raquo;, et \u0026laquo;\u0026nbsp;nombre\u0026nbsp;\u0026raquo; (le nombre de copies, variant de 1 \u0026agrave; \u0026laquo;\u0026nbsp;illimit\u0026eacute;\u0026nbsp;\u0026raquo;).\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eLiesbeth Decan, \u003cem\u003eConceptual, Surrealist, Pictorial: Photo-based Art in Belgium (1960s \u0026ndash; early 1990s)\u003c/em\u003e, Leuven University Press, 2016, p. 65\u003c/p\u003e\r\n"}]},{"id":14488,"title":"Al de zwart-wit foto's tot 1998","dimensions":"30.5 cm x 25 cm, 500 p.","date_begin":"1998-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collectie M HKA, Collectie Vlaamse Gemeenschap","cached_tag_list":"Boek Al de zwart-wit foto's Jef Geys Artist publication ; Artist book ; Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1997/635","stream_count_app":19,"permalink":"al-de-zwart-wit-foto-s-tot-1998","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/046/large/Jef_Geys_Al_de_zwart-wit_foto's_tot_1998.jpg?1475163364","poster_credits":"image: (c) M HKA, Collectie M HKA, Collectie Vlaamse Gemeenschap","translations":[{"locale":"en","description":"\u003cp\u003eIn 1998 Jef Geys publishes a volume with the prosaic, self-explanatory title - All the black-and-white photographs up to 1998: a weighty tome of some 500 pages, filled with contact prints of all the photographs made by the artist over the last forty years.\u0026nbsp;\u0026nbsp;This important book offers a panoramic survey of the artist as remorseless observer and chronicler of his (own) history.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 2002, Jef Geys was one of four Belgian artists chosen for Documenta 11 curated by Okwui Enwezor.\u0026nbsp;\u0026nbsp;There he presented his piece Dag en Nacht en Dag en\u0026hellip; / Day and Night and Day and\u0026hellip;, a 36-hour film in black-and-white wherein an endless series of photographs made by the artist from All the black-and-white photographs up to 1998\u0026nbsp;are edited together, and yield a hypnotically slow procession.\u0026nbsp;\u0026nbsp;Jef Geys is one of Belgium\u0026#39;s most radical and influential artists.\u0026nbsp;\u0026nbsp;For decades now, his work has enjoyed international attention.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Provinciaal Centrum voor Beeldende Kunsten Begijnhof, Hasselt (Belgium).\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn 1998 publiceert Jef Geys een boekwerk met de proza\u0026iuml;sche, zichzelf verklarende titel\u0026nbsp;Al de zwart-wit Fotos tot 1998: een vuistdik boek van 500 bladzijden gevuld met alle contactafdrukken van alle door de kunstenaar gemaakte foto\u0026rsquo;s van de laatste veertig jaar. \u0026nbsp;Al de zwart-wit Fotos tot 1998\u0026nbsp;biedt in een panoramische oogopslag een overzicht van de kunstenaar als meedogenloos observator en chroniqueur van de (eigen) geschiedenis.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 2002 is Jef Geys \u0026eacute;\u0026eacute;n van de vier Belgische kunstenaars in de door Okwui Enwezor samengestelde elfde Documenta. Daar toont hij het werk\u0026nbsp;Dag en Nacht en Dag en\u0026hellip; / Day and Night and Day and\u0026hellip;, een 36 uur durende zwart-wit film waarin een eindeloze reeks door de kunstenaar zelf gemaakte foto\u0026rsquo;s uit\u0026nbsp;Al de zwart-wit Fotos tot 1998\u0026nbsp;elkaar tergend, hypnotisch langzaam opvolgden. Jef Geys is \u0026eacute;\u0026eacute;n van Belgi\u0026euml;\u0026rsquo;s meest radicale en invloedrijke kunstenaars, wiens werk reeds decennia internationale aandacht geniet.\u003c/p\u003e\r\n\r\n\u003cp\u003eUitgever/Publisher : Provinciaal Centrum voor Beeldende Kunsten Begijnhof, Hasselt (Belgi\u0026euml;).\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEn 1998, Jef Geys publie un ouvrage au titre prosa\u0026iuml;que et explicite\u0026nbsp;: \u003cem\u003eAl de zwart-wit Foto\u0026rsquo;s tot 1998\u003c/em\u003e (Toutes les photographies en noir et blanc jusqu\u0026rsquo;en 1998). Ce livre volumineux de 500 pages comporte toutes les planches contact faites par l\u0026rsquo;artiste au cours des quarante derni\u0026egrave;res ann\u0026eacute;es et offre ainsi en un coup d\u0026rsquo;\u0026oelig;il panoramique une vue d\u0026rsquo;ensemble de l\u0026rsquo;\u0026oelig;uvre de cet observateur et chroniqueur impitoyable de la (propre) histoire.\u003c/p\u003e\r\n\r\n\u003cp\u003eEn 2002, Jef Geys est l\u0026rsquo;un des quatre artistes belges qu\u0026rsquo;Okwui Enwezor s\u0026eacute;lectionne pour la onzi\u0026egrave;me Documenta \u0026agrave; Kassel. Geys y expose l\u0026rsquo;\u0026oelig;uvre \u003cem\u003eDag en Nacht en Dag en\u0026hellip; / Day and Night and Day and\u0026hellip;,\u003c/em\u003e un film en noir et blanc d\u0026rsquo;une dur\u0026eacute;e de 36\u0026nbsp;heures dans lequel se succ\u0026egrave;de, \u0026agrave; une lenteur exasp\u0026eacute;rante et hypnotique, une s\u0026eacute;rie infinie de photographies faites par l\u0026rsquo;artiste et publi\u0026eacute;es dans l\u0026rsquo;ouvrage susmentionn\u0026eacute; \u003cem\u003eAl de zwart-wit Fotos tot 1998\u003c/em\u003e. Jef Geys est un des artistes belges les plus radicaux et les plus influents, dont l\u0026rsquo;\u0026oelig;uvre jouit depuis des d\u0026eacute;cennies d\u0026rsquo;une attention internationale.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026eacute;diteur : Provinciaal Centrum voor Beeldende Kunsten Begijnhof, Hasselt (Belgique).\u003c/p\u003e\r\n"}]},{"id":14487,"title":"Boekontwerp - Alle foto's genomen door Jef Geys tot 1984","dimensions":"","date_begin":"1983-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":154,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Yves Gevaert","cached_tag_list":"Boek prototype ontwerp Al de zwart-wit foto's Jef Geys","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"boekontwerp-al-de-zwart-wit-foto-s-tot-1998","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/000/033/102/large/2016_Van_Broodthaers_tot_Braeckman__9_9.jpg?1475747811","poster_credits":"Image: (c) M HKA, Courtesy Yves Gevaert","translations":[{"locale":"en","description":"\u003cp\u003eIn 1998 the five centimetre thick book \u003cem\u003eAl de zwart-wit foto\u0026#39;s tot 1998\u003c/em\u003e\u0026nbsp;by Jef Geys is published. As the title suggests, it contains the photo archive of the artist from his 1958 debut till the moment of publication. The work also exists as a room-filling installation; with every A3 sheet from the book pinned to the wall. \u003cem\u003eBoekontwerp - Alle foto\u0026#39;s genomen door Jef Geys \u0026hellip; \u003c/em\u003eproves that much earlier, during the mid 1980s, Geys had been considering publishing his uncensored photo archive. The documents \u0026ndash; photocopies from notes \u0026ndash; were sent to Yves Gevaert, publisher of art books. However, the time did not prove right until 1998, when the project was completed.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn 1998 komt Jef Geys\u0026rsquo; vijf centimeter dikke boek \u003cem\u003eAl de zwart-wit foto\u0026#39;s tot 1998\u003c/em\u003e\u0026nbsp;uit. Het bevat, zoals de titel aangeeft, het fotoarchief van de kunstenaar sinds zijn debuut in 1958 tot op het moment van publicatie. Het werk bestaat ook in de vorm van een kamergrote installatie, waarbij alle A3 vellen van het boek op de muur worden gespeld. \u003cem\u003eBoekontwerp - Alle foto\u0026#39;s genomen door Jef Geys \u0026hellip; \u003c/em\u003etoont echter dat Geys al veel eerder, namelijk midden jaren 1980, het idee had zijn fotoarchief ongecensureerd uit te geven. De documenten \u0026ndash; fotokopie\u0026euml;n van notities \u0026ndash; werden opgestuurd naar Yves Gevaert, uitgever van kunstenaarspublicaties. De tijd bleek echter nog niet rijp: pas in 1998 werd het project gerealiseerd.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":19841,"title":"Een dag, een nacht, een dag","dimensions":"","date_begin":"2002-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BKW00009_01","stream_count_app":9,"permalink":"een-dag-een-nacht-een-dag","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/000/041/329/medium_500/BKW0009_3.jpg?1531392349","cached_actor_names":"Jef Geys","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/000/041/329/large/BKW0009_3.jpg?1531392349","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eStudie en werktekening voor \u003cem\u003eDocumenta XI\u003c/em\u003e. In 2002 is Jef Geys \u0026eacute;\u0026eacute;n van de vier Belgische kunstenaars in de door Okwui Enwezor samengestelde elfde Documenta. Daar toont hij het werk \u003cem\u003eDag en Nacht en Dag en\u0026hellip; / Day and Night and Day and\u003c/em\u003e\u0026hellip;, een 36 uur durende zwart-wit film waarin een eindeloze reeks door de kunstenaar zelf gemaakte foto\u0026rsquo;s uit \u003cem\u003eAl de zwart-wit Fotos tot 1998\u003c/em\u003e elkaar tergend, hypnotisch langzaam opvolgden. Jef Geys is \u0026eacute;\u0026eacute;n van Belgi\u0026euml;\u0026rsquo;s meest radicale en invloedrijke kunstenaars, wiens werk reeds decennia internationale aandacht geniet.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":19842,"title":"Zonder titel","dimensions":"","date_begin":"2002-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BKW00009_04","stream_count_app":12,"permalink":"zonder-titel-1727213d-435a-45d5-a25f-bb43cb2a1023","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/000/041/330/medium_500/BKW0009_1.jpg?1531479935","cached_actor_names":"Jef Geys","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/000/041/330/large/BKW0009_1.jpg?1531479935","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eStudie en werktekening voor \u003cem\u003eDocumenta XI\u003c/em\u003e. In 2002 is Jef Geys \u0026eacute;\u0026eacute;n van de vier Belgische kunstenaars in de door Okwui Enwezor samengestelde elfde Documenta. Daar toont hij het werk \u003cem\u003eDag en Nacht en Dag en\u0026hellip; / Day and Night and Day and\u003c/em\u003e\u0026hellip;, een 36 uur durende zwart-wit film waarin een eindeloze reeks door de kunstenaar zelf gemaakte foto\u0026rsquo;s uit \u003cem\u003eAl de zwart-wit Fotos tot 1998\u003c/em\u003e elkaar tergend, hypnotisch langzaam opvolgden. Jef Geys is \u0026eacute;\u0026eacute;n van Belgi\u0026euml;\u0026rsquo;s meest radicale en invloedrijke kunstenaars, wiens werk reeds decennia internationale aandacht geniet.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":20729,"title":"Balkonmischung","dimensions":"","date_begin":"1997-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy Jos Jamar","cached_tag_list":"Art's Birthday Salon de Peinture","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"balkonmischung","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/043/257/medium_500/JefGeys_Balkon2019_Art%27s_Birthday_photo_M_HKAcc.jpg?1548165389","cached_actor_names":"Jef Geys","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/000/043/255/large/JefGeys_Balkon_2019_Arts_Birthday_photo_M_HKAcc.jpg?1548165334","poster_credits":"Courtesy Jos Jamar, image: (c) M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":28939,"title":"Von der Wiederholung der Träume zur Realität (cat.)","dimensions":"A5 var.","date_begin":"1991-01-01","material":"paper, ink (printing)","short_description":"\u003cp\u003eCatalogue for the group exhibition at Grita Insam (Vienna) \u0026quot;Von der Wiederholung der Tr\u0026auml;ume zur Realit\u0026auml;t\u0026quot; curated by Ulrike Lindmayr\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":84,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerpen - Schenking Samarkand, 2019","cached_tag_list":"catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":25,"permalink":"von-der-wiederholung-der-traume-zur-realitat-cat","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eCataloog voor de groepstentoonstelling bij Grita Insam (Wenen) \u0026quot;Von der Wiederholung der Tr\u0026auml;ume zur Realit\u0026auml;t\u0026quot; samengesteld door Ulrike Lindmayr\u003c/p\u003e\r\n","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/065/834/medium_500/JL18s029.jpg?1606036798","cached_actor_names":"Jef Geys, Michel François, Ulli Lindmayr, Ria Pacquée, Patrick Vanden Eynde, Patrick Van Caeckenbergh, Bernd Lohaus, Frank F Castelyns, Jef Lambrecht","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/000/065/834/large/JL18s029.jpg?1606036798","poster_credits":"M HKA","translations":[{"locale":"en","description":"\u003cp\u003eCatalogue for the group exhibition at Grita Insam (Vienna) \u0026quot;Von der Wiederholung der Tr\u0026auml;ume zur Realit\u0026auml;t\u0026quot; curated by Ulrike Lindmayr\u003c/p\u003e\r\n\r\n\u003cp\u003etitle from work by Bernd Lohaus - JL proposed I.E. \u0026amp; \u0026#39;presidency\u0026#39;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eCataloog voor de groepstentoonstelling bij Grita Insam (Wenen) \u0026quot;Von der Wiederholung der Tr\u0026auml;ume zur Realit\u0026auml;t\u0026quot; samengesteld door Ulrike Lindmayr\u003c/p\u003e\r\n\r\n\u003cp\u003etitel van Bernd Lohaus - JL presenteerde I.E. en \u0026#39;presidency\u0026#39;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":5779,"title":"362.880 X Jef Geys (Een multiepel)","dimensions":"20 x 12.5 cm, 197 p., language : Dutch, publisher : Manteau n.v., Brussel/Den Haag, ","date_begin":"1970-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":141,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Artist novel ; Artist publication ; 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