[{"id":31828,"title":"The Giant Foot","dimensions":"58 x 183 x 71 cm","date_begin":"1967-01-01","material":"PUR foam covered with a white vinyl cover","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Design Museum Brussel","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":24,"permalink":"the-giant-foot","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eNicola L. verwerft bekendheid om haar geestige, antropomorfe sculpturen die (delen van) het vrouwelijke lichaam versmelten met meubilair, zoals \u003cem\u003eThe Giant Foot\u003c/em\u003e (1967) waarmee ze de objectivering van vrouwen materialiseert en het sociale stereotype van de vrouwelijke verzorger parodieert. De tot mensenhoogte uitvergrootte voet uit vinyl kon dienst doen als sofa. Nicola L. noemt haar sculpturen dan ook \u0026#39;functionele kunst\u0026#39;.\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/000/077/080/medium_500/Nicola_L._with_The_Giant_Foot__1969._%C2%A9_Nicola_L._Collection_and_Archive.jpg?1645525802","cached_actor_names":"Nicola L.","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/080/large/Nicola_L._with_The_Giant_Foot__1969._%C2%A9_Nicola_L._Collection_and_Archive.jpg?1645525802","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31833,"title":"Bad Brains at CBGB: My Picture in your Movie Baby","dimensions":"24:45","date_begin":"1980-01-01","material":"Super-8 film","short_description":"\u003cp\u003e\u003cem\u003eBad Brains at CBGB: My Picture in your Movie Baby \u003c/em\u003eis a documentary about the Washington DC punk band Bad Brains. Nicola recorded her own street actions from the beginning on super 8 film, on which we see mostly the P\u0026eacute;n\u0026eacute;trables (canvases in which you can stick your head, arms and legs) walking down the street, going through a museum or enjoying a meal in the Brussels metro.\u003cem\u003e Le manteau pour our personnes\u003c/em\u003e or \u003cem\u003eThe Red Coat For 11 People \u003c/em\u003eor \u003cem\u003eSame Skin For Everybody\u003c/em\u003e was performed and recorded at various locations throughout the 1970s. In 1980, Nicola makes her first documentary film about the punk band Bad Brains. Later, she makes a docu on the anarchist anti-war activist Abbie Hoffman, recording his first interview after seven years in hiding. In 2014 she releases \u003cem\u003eDoors Ajar at the Chelsea Hotel\u003c/em\u003e about New York\u0026#39;s most famous bohemian/ rock/ punk den where Nicola L herself lived from 1979 until it closed in 2011.\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":182,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"nicola-l-with-bad-brains","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003e\u003cem\u003eBad Brains at CBGB: My Picture in your Movie Baby \u003c/em\u003eis een documentaire over de Washington DC punk band \u003cem\u003eBad Brains\u003c/em\u003e. Nicola heeft haar acties op straat van bij het begin geregistreerd op super 8 film, hierop zien we voornamelijk de \u003cem\u003eP\u0026eacute;n\u0026eacute;trables\u003c/em\u003e (canvassen waar je hoofd, armen en benen kan in steken) wandelen over straat, doorheen een museum of een maaltijd genieten in de Brusselse metro. \u003cem\u003eLe manteau pour onze personnes \u003c/em\u003eof\u0026nbsp;\u003cem\u003eThe Red Coat For 11 People\u003c/em\u003e of \u003cem\u003eSame Skin For Everybody\u003c/em\u003e wordt doorheen de jaren zeventig op verschillende locaties opgevoerd en geregistreerd. In 1980 waagt Nicola zich aan haar eerste documentaire film over de punk band \u003cem\u003eBad Brains. \u003c/em\u003eLater maakt ze een docu maken over de \u003cspan\u003eanarchistisch anti-oorlogs-activist \u003c/span\u003eAbbie Hoffman waarin zijn eerste interview wordt vastgelegd na zeven jaar schuilen. In 2014 verschijnt \u003cem\u003eDoors Ajar at the Chelsea Hotel \u003c/em\u003eover New York\u0026#39;s meest beroemde bohemien/ rock/ punk hol waar Nicola L zelf gewoond heeft van 1979 tot de sluiting in 2011.\u0026nbsp; \u0026nbsp;\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/000/077/087/medium_500/Bad_brains_1980.jpg?1645534213","cached_actor_names":"Nicola L.","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/087/large/Bad_brains_1980.jpg?1645534213","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eBad Brains at CBGB: My Picture in your Movie Baby \u003c/em\u003eis a documentary about the Washington DC punk band Bad Brains. Nicola recorded her own street actions from the beginning on super 8 film, on which we see mostly the P\u0026eacute;n\u0026eacute;trables (canvases in which you can stick your head, arms and legs) walking down the street, going through a museum or enjoying a meal in the Brussels metro.\u003cem\u003e Le manteau pour our personnes\u003c/em\u003e or \u003cem\u003eThe Red Coat For 11 People \u003c/em\u003eor \u003cem\u003eSame Skin For Everybody\u003c/em\u003e was performed and recorded at various locations throughout the 1970s. In 1980, Nicola makes her first documentary film about the punk band Bad Brains. Later, she makes a docu on the anarchist anti-war activist Abbie Hoffman, recording his first interview after seven years in hiding. In 2014 she releases \u003cem\u003eDoors Ajar at the Chelsea Hotel\u003c/em\u003e about New York\u0026#39;s most famous bohemian/ rock/ punk den where Nicola L herself lived from 1979 until it closed in 2011.\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eBad Brains at CBGB: My Picture in your Movie Baby \u003c/em\u003eis een documentaire over de Washington DC punk band \u003cem\u003eBad Brains\u003c/em\u003e. Nicola heeft haar acties op straat van bij het begin geregistreerd op super 8 film, hierop zien we voornamelijk de \u003cem\u003eP\u0026eacute;n\u0026eacute;trables\u003c/em\u003e (canvassen waar je hoofd, armen en benen kan in steken) wandelen over straat, doorheen een museum of een maaltijd genieten in de Brusselse metro. \u003cem\u003eLe manteau pour onze personnes \u003c/em\u003eof\u0026nbsp;\u003cem\u003eThe Red Coat For 11 People\u003c/em\u003e of \u003cem\u003eSame Skin For Everybody\u003c/em\u003e wordt doorheen de jaren zeventig op verschillende locaties opgevoerd en geregistreerd. In 1980 waagt Nicola zich aan haar eerste documentaire film over de punk band \u003cem\u003eBad Brains. \u003c/em\u003eLater maakt ze een docu maken over de \u003cspan\u003eanarchistisch anti-oorlogs-activist \u003c/span\u003eAbbie Hoffman waarin zijn eerste interview wordt vastgelegd na zeven jaar schuilen. In 2014 verschijnt \u003cem\u003eDoors Ajar at the Chelsea Hotel \u003c/em\u003eover New York\u0026#39;s meest beroemde bohemien/ rock/ punk hol waar Nicola L zelf gewoond heeft van 1979 tot de sluiting in 2011.\u0026nbsp; \u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":31885,"title":"Femme","dimensions":"31 x 208 x 85 cm","date_begin":"1968-01-01","material":"","short_description":"\u003cp\u003eAnthropomorphic sofa consisting of a seat and nine elements: one cushion in the shape of a head, two arms, two hands, two legs and two feet. Polyutheran foam (PUR) covered with a vinyl cover (PVC); the hairs of the head cushion are made of artificial fur.\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Design Museum Brussel","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"femme","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eAntropomorfe zitbank bestaande uit een zitting en negen elementen: \u0026eacute;\u0026eacute;n kussen in de vorm van een hoofd, twee armen, twee handen, twee benen en twee voeten. Polyutheraanschuim (PUR) bekleed met een vinylhoes (PVC); de haren van het hoofdkussen zijn in kunstbont uitgevoerd.\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/000/077/220/medium_500/1970_femme_Collection_of_Art___Design_Atomium_Museum_%28ADAM%29__Brussels..jpg?1646233191","cached_actor_names":"Nicola L.","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/220/large/1970_femme_Collection_of_Art___Design_Atomium_Museum_%28ADAM%29__Brussels..jpg?1646233191","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31829,"title":"Terre","dimensions":"177.8 x 94 cm","date_begin":"1974-01-01","material":"Ink, cotton, wood","short_description":"\u003cp\u003eSince the late 1960s, Nicola L. has focused on a series of so-called 'pénétrables': rectangles of stretched canvas into which participants can put their arms, legs and heads in order to literally penetrate the painting and become one with the art. She uses the structural elements of traditional painting to explore the limitations of what she sees as a passive medium. The monochrome canvases are described with natural elements such as earth, cloud, flower, sky, forest.\u003c/p\u003e","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collectie M HKA, Antwerpen / Collectie Vlaamse Gemeenschap","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1978-01-01","reference":"BK009177","stream_count_app":41,"permalink":"penetrable-terre","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eVanaf eind jaren zestig legt Nicola L. zich toe op een reeks van zogenaamde ‘pénétrables’: rechthoeken van gespannen canvas waarin deelnemers hun armen, benen en hoofd kunnen steken om letterlijk door te dringen in het schilderij en één te worden met de kunst. Ze gebruikt de structurele elementen van traditionele schilderkunst om de beperkingen van het voor haar passieve medium te onderzoeken. De monochrome doeken zijn beschreven met natuurlijke elementen zoals aarde, wolk, bloem, hemel, bos.\u003c/p\u003e","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/040/medium_500/2022_L.__Nicola_Terre_photoM_HKA_clinckx.jpg?1663336213","cached_actor_names":"Nicola L.","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/040/large/2022_L.__Nicola_Terre_photoM_HKA_clinckx.jpg?1663336213","poster_credits":" © Nicola L. Photo: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eSince the late 1960s, Nicola L. has focused on a series of so-called 'pénétrables': rectangles of stretched canvas into which participants can put their arms, legs and heads in order to literally penetrate the painting and become one with the art. She uses the structural elements of traditional painting to explore the limitations of what she sees as a passive medium. The monochrome canvases are described with natural elements such as earth, cloud, flower, sky, forest.\u003c/p\u003e\u003cp\u003e\"A Long Day's Journey to the End of the Skin\u003c/p\u003e\u003cp\u003e\"Popular expressions draw a clear distinction between the container and the contents: 'I've got you under my skin', 'Beauty is only skin deep'... This is the ultimate way in which the human territory defines its borders. The skin represents the physical frontier of psychology, of feeling, of sensitivity: the ego is in the bag.\u003c/p\u003e\u003cp\u003e\"Sometimes, the bag is a prison. Who has not wanted to get out of himself? By nature, certain mollusks are constantly in search of a protective shell: someone else's armour. Nicola actually offers us a second skin, smooth and impregnable. Plastic in every sense of the word, in appearance and in reality. Mouted on frames, extensions of the streched canvas, the panoply of mutts, leggings and bonnets invites us on a journey. A journey that's an organic ritual of penetration and osmosis. This synthetic skin, the skin of everybody and nobody, absorbs the warmth of flesh in its folds: after its withdrawal, for a moment, it keeps the imprint of the former occupant, the immediate impression of its absence. Penetration of the interior, return to the womb, penis and vulva, finger and glove: we go back instantly to the very source of life, into the organic universe of all rebirth.\u003c/p\u003e\u003cp\u003e\"Nicola's imagery borrows nothing from the folklore of modern nature. She doesn't build up any imaginary structure. She cuts into the living flesh of our senses. She invites us to live, as she does, to the quick. We're touched by Nicola's work because it concerns us immediately. This woman who resembles no one, not even herself, restores the skin's sensuality before our very eyes. It's not true that appearances are deceiving: they are the skin of things, and they're there, period! You have to penetrate them to experience them, and life is no more than that.\u003c/p\u003e\u003cp\u003e\"Nicola's work is like a lesson in the facts of live for sensitive and consenting adults. The experience is oddly enriching: the skin finds its tactile language, its supple gesturing, its overall expressiveness.\"\u003c/p\u003e\u003cp\u003eText by Pierre Restany of 23 September 1968, published in the catalogue Nicola - Pénétrables, ICC, Antwerp, 28 February - 28 March 1976\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eVanaf eind jaren zestig legt Nicola L. zich toe op een reeks van zogenaamde ‘pénétrables’: rechthoeken van gespannen canvas waarin deelnemers hun armen, benen en hoofd kunnen steken om letterlijk door te dringen in het schilderij en één te worden met de kunst. Ze gebruikt de structurele elementen van traditionele schilderkunst om de beperkingen van het voor haar passieve medium te onderzoeken. De monochrome doeken zijn beschreven met natuurlijke elementen zoals aarde, wolk, bloem, hemel, bos.\u003c/p\u003e\u003cp\u003e\"Een lange tocht naar de opperhuid\u003c/p\u003e\u003cp\u003e\"De volkse wijsheid maakt een radikaal onderscheid tussen inhoud en omhulsel: \"ik voel mij goed in mijn vel\", \"ik zou niet graag in zijn vel steken\". Daar stopt dan het menselijk terrein bij uitstek. Het vel stelt de fysische grens voor van een psychologie, een sentiment, een gevoeligheid: het ik zit in een zak.\u003c/p\u003e\u003cp\u003e\"Op bepaalde ogenblikken wordt die zak een gevangenis. Wie heeft er niet ooit zin gehad om uit zichzelf te stappen? De natuur heeft bepaalde weekdieren voorbestemd om ononderbroken op zoek te gaan naar een beschermend omhulsel: dat van anderen. Nicola biedt ons een tweede huis, glas en ondoordringbaar. In voorkomen zoals in realiteit, \u003cu\u003eplastisch \u003c/u\u003ein alle betekenissen van het woord. Een verzameling holle moffen, beenstukken en kappen - aanhangsels van de op ramen gespannen doeken - nodigen ons uit tot de reis. Een reis die een organische ritus is van penetratie en osmose. Dit synthetische huis, huis van niemand en iedereen, ontvangt in haar plooien de warmte van het lichaam: na terugtrekking hiervan bewaart de huis een ogenblik de indruk van de voorbije aanwezigheid, het directe spoor van de afwezigheid. Doordringing van het inwendige, terugkeer naar baarmoeder, penis en vulva, vingers en handschoen: wij staan op slag terug aan de bron van het leven, in het organische heelal van alle wedergeboorten.\u003c/p\u003e\u003cp\u003e\"De zienswijze van Nicola onleent niets aan de folklore van de moderne natuur. Zij trekt geen enkele denkbeeldige structuur op. Zij hakt in het levend vlees van onze zintuigen. Zij nodigt ons uit tot leven, zoals zij, aan de opperhuid. Nicola's poging beroert ons omdat ze ons intieme wezen raakt. Deze vreemde vrouw dwingt haarzelf en anderen tot hernieuwde waardering van de sensualiteit van de huid. Het is onjuist dat het uitzicht bedriegelijk is: het is het omhulsel der dingen, het bestaat en daarmee uit! Het moet worden doordrongen om de dingen te kunnen beleven, en het leven is niets anders dan dat.\u003c/p\u003e\u003cp\u003e\"Het werk van Nicola is als 'een les der dingen' voor gevoelige en instemmende volwassenen. De proef is bijzonder verrijkend: dààr verrijkt de huid zijn eigen tasttaal, zijn beweeglijkheid, zijn algemene uitdrukkingswaarde.\"\u003c/p\u003e\u003cp\u003eTekst van Pierre Restany van 23 september 1968, gepubliceerd in de catalogus \u003ci\u003eNicola - Pénétrables\u003c/i\u003e, ICC, Antwerpen, 28 februari - 28 maart 1976\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":32640,"title":"Tapis gris pour cinq personnes (The Rug For Five People)","dimensions":"400 x 400 cm","date_begin":"1975-01-01","material":"acrylic fur","short_description":"\u003cp\u003e\u003cem\u003eTapis gris pour cinq personnes\u003c/em\u003e was first activated during \u0026quot;SaltoArte\u0026quot;, the performative opening night of the exhibition \u0026quot;Je/Nous.Wij/Ik\u0026quot; (Museum van Elsene, Brussels, 23 May - 13 July 1975). At this groupexhibition, two works by Nicola were shown; \u003cem\u003eLa Chambre and Fourrure\u003c/em\u003e, which was first shown in 1970 in the Galleria Apollinaire in Milano, and in the basement Nicola placed four banners on two poles, as if for a demonstration. The banners each contain a sentence: Nous voulons voir [we want to see], Nous voulons sentir [we want to smell], Nous voulons entendre [we want to hear], Nous voulons toucher [we want to touch]. The stylised heads seem to want to get their message across by wriggling with great difficulty through the canvas.\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Collection Fonds régional d'art contemporain Bretagne, Rennes","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":39,"permalink":"tapis-gris-pour-cinq-personnes","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003e\u003cem\u003eTapis gris pour cinq personnes\u003c/em\u003e werd voor het eerst geactiveerd tijdens \u0026quot;SaltoArte\u0026quot;, de performatieve openingsavond van de tentoonstelling \u0026quot;Je/Nous.Wij/Ik\u0026quot; (Museum van Elsene, Brussel, 23 mei \u0026ndash; 13 juli 1975). Op deze groepstentoonstelling werden twee werken van Nicola getoond; \u003cem\u003eLa Chambre en Fourrure\u003c/em\u003e, dat voor het eerst getoond werd in 1970 in de \u003cspan\u003eGalleria Apollinaire te Milano, en \u003c/span\u003ein de kelder heeft Nicola vier spandoeken op twee palen gezet, als voor een demonstratie. Op de doeken staat telkens een zin: Nous voulons voir [wij willen zien], Nous voulons sentir\u0026nbsp;[wij willen ruiken], Nous voulons entendre [wij willen horen], Nous voulons toucher [wij willen aanraken]. De gestileerde hoofden lijken hun boodschap te willen overbrengen door zich met veel moeite door het doek te wurmen.\u0026nbsp;\u0026nbsp;\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/000/086/967/medium_500/L.__Nicola__1.jpg?1663249290","cached_actor_names":"Nicola L.","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/086/967/large/L.__Nicola__1.jpg?1663249290","poster_credits":"© Nicola L. Courtesy of Collection Fonds Régional d’Art Contemporain Bretagne, Rennes. Photo: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eTapis gris pour cinq personnes\u003c/em\u003e was first activated during \u0026quot;SaltoArte\u0026quot;, the performative opening night of the exhibition \u0026quot;Je/Nous.Wij/Ik\u0026quot; (Museum van Elsene, Brussels, 23 May - 13 July 1975). At this groupexhibition, two works by Nicola were shown; \u003cem\u003eLa Chambre en\u0026nbsp;Fourrure\u003c/em\u003e, which was first shown in 1970 in the Galleria Apollinaire in Milano, and in the basement Nicola placed four banners on two poles, as if for a demonstration. The banners each contain a sentence: Nous voulons voir [we want to see], Nous voulons sentir [we want to smell], Nous voulons entendre [we want to hear], Nous voulons toucher [we want to touch]. The stylised heads seem to want to get their message across by wriggling with great difficulty through the canvas.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eTapis gris pour cinq personnes\u003c/em\u003e werd voor het eerst geactiveerd tijdens \u0026quot;SaltoArte\u0026quot;, de performatieve openingsavond van de tentoonstelling \u0026quot;Je/Nous.Wij/Ik\u0026quot; (Museum van Elsene, Brussel, 23 mei \u0026ndash; 13 juli 1975). Op deze groepstentoonstelling werden twee werken van Nicola getoond; \u003cem\u003eLa Chambre en Fourrure\u003c/em\u003e, dat voor het eerst getoond werd in 1970 in de \u003cspan\u003eGalleria Apollinaire te Milano, en \u003c/span\u003ein de kelder heeft Nicola vier spandoeken op twee palen gezet, als voor een demonstratie. Op de doeken staat telkens een zin: Nous voulons voir [wij willen zien], Nous voulons sentir\u0026nbsp;[wij willen ruiken], Nous voulons entendre [wij willen horen], Nous voulons toucher [wij willen aanraken]. De gestileerde hoofden lijken hun boodschap te willen overbrengen door zich met veel moeite door het doek te wurmen.\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":18180,"title":"Nicola","dimensions":"296 x 21.1 cm, 39 p., language : Dutch, French, English, publisher : ICC/Internationaal Cultureel Centrum, Antwerpen","date_begin":"1976-01-01","material":"Ink, paper","short_description":"\u003cp\u003eICC publication.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditors : F. Bex, J.-P. Coenen \u0026amp; J. Debbaut.\u003c/p\u003e\r\n\r\n\u003cp\u003eAuthors : Alain Macaire, Nicola, Catherine Parisot \u0026amp; Pierre Restany.\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition Catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2000/304","stream_count_app":11,"permalink":"nicola","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/000/039/848/medium_500/20180228152029868_0001.jpg?1519827685","cached_actor_names":"Nicola L.","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/039/848/large/20180228152029868_0001.jpg?1519827685","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":37385,"title":"Atmosphere","dimensions":"304.8 x 228.6 cm","date_begin":"2005-01-01","material":"Cotton","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Nicola L. Collection \u0026 Archive and Alison Jacques","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"atmosphere","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/705/medium_500/Schermafbeelding_2026-03-30_095920.png?1774857666","cached_actor_names":"Nicola L.","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/705/large/Schermafbeelding_2026-03-30_095920.png?1774857666","poster_credits":"© Nicola L. Collection \u0026 Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31830,"title":"Red Coat","dimensions":"Dimensions variable","date_begin":"1969-01-01","material":"Vinyl","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Nicola L. Collection \u0026 Archive and Alison Jacques","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"the-red-coat","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/769/medium_500/Schermafbeelding_2026-04-16_130856.png?1776337880","cached_actor_names":"Nicola L.","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31887,"title":"Plaque for Fur Room","dimensions":"48.3 x 67.3 cm","date_begin":"1970-01-01","material":"Vinyl, acrylic fur","short_description":"\u003cp\u003eWhen Nicola L. meets the Belgian artist Marcel Broodthaers in 1969, he takes her to the manufacturer where he had started producing his thermoformed plastic sheets or poèmes industriels a year earlier. There, Nicola L. will have her first designs made in plastic: a plastic plate with the words \"Same skin for everybody\" and the two floor lamps \u003ci\u003eThe Eye Lamp \u003c/i\u003eand \u003ci\u003eThe Lips\u003c/i\u003e.\u0026nbsp;\u003c/p\u003e","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Nicola L. Collection \u0026 Archive and Alison Jacques","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":32,"permalink":"plaque-for-fur-room","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eWanneer Nicola L. in 1969 de Belgische kunstenaar Marcel Broodthaers ontmoet, neemt hij haar mee naar de fabrikant waar hij een jaar voordien was begonnen met de productie van zijn thermogevormde plastic platen of \u003ci\u003epoèmes industriels. \u003c/i\u003eDaar zal Nicola L. haar eerste ontwerpen in plastic laten vervaardigen: een plastic plaat met de woorden \"Same skin for everybody\" en de twee staande lampen \u003ci\u003eThe Eye Lamp\u003c/i\u003e en \u003ci\u003eThe Lips\u003c/i\u003e.\u0026nbsp;\u003c/p\u003e","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/884/medium_500/L.__Nicola_.jpg?1664883032","cached_actor_names":"Nicola L.","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/884/large/L.__Nicola_.jpg?1664883032","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eWhen Nicola L. meets the Belgian artist Marcel Broodthaers in 1969, he takes her to the manufacturer where he had started producing his thermoformed plastic sheets or poèmes industriels a year earlier. There, Nicola L. will have her first designs made in plastic: a plastic plate with the words \"Same skin for everybody\" and the two floor lamps \u003ci\u003eThe Eye Lamp \u003c/i\u003eand \u003ci\u003eThe Lips\u003c/i\u003e.\u0026nbsp;\u003c/p\u003e\u003cp\u003eThe plastic plate is kind of a design sketch for the installation \u003ci\u003eLa Chambre en Fourrure\u003c/i\u003e [The Fur Room]. We see the floor and four walls with thirteen 'pénétrables' and an egg shape. Next to \"Same skin for everybody\" we read, by way of legend: 'ENVIRONNEMENT', 'PEAUX VIDES', 'MATERIAUX' and 'C. APOLLINAIRE', a reference to the gallery in Milan where the work was first shown. Later the installation was also shown at the group exhibition \"Je/Nous.Wij/Ik\", Museum van Elsene, Brussels, 23 May - 13 July 1975.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eWanneer Nicola L. in 1969 de Belgische kunstenaar Marcel Broodthaers ontmoet, neemt hij haar mee naar de fabrikant waar hij een jaar voordien was begonnen met de productie van zijn thermogevormde plastic platen of \u003ci\u003epoèmes industriels. \u003c/i\u003eDaar zal Nicola L. haar eerste ontwerpen in plastic laten vervaardigen: een plastic plaat met de woorden \"Same skin for everybody\" en de twee staande lampen \u003ci\u003eThe Eye Lamp\u003c/i\u003e en \u003ci\u003eThe Lips\u003c/i\u003e.\u0026nbsp;\u003c/p\u003e\u003cp\u003eDe plastiek plaat is een soort van ontwerpschets voor de installatie \u003ci\u003eLa Chambre en Fourrure \u003c/i\u003e[de bonte kamer]. We zien de vloer en vier muren met dertien 'pénétrables' en een eivorm. Naast\u0026nbsp;\"Same skin for everybody\" lezen we bij wijze van legende: 'ENVIRONNEMENT', 'PEAUX VIDES', 'MATERIAUX' en 'C. APOLLINAIRE', een verwijzing naar de galerie in Milaan waar het werk voor het eerst getoond werd. Later werd de installatie ook getoond op de groepstentoonstelling\u0026nbsp;\"Je/Nous.Wij/Ik\" (Museum van Elsene, Brussel, 23 mei – 13 juli 1975).\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":37386,"title":"La Chambre en Fourrure","dimensions":"Dimensions variable","date_begin":"1970-01-01","material":"Acrylic fur","short_description":"","art_status_id":13,"legal_status_id":84,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Nicola L. Collection \u0026 Archive and Alison Jacques","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2020-01-01","reference":"","stream_count_app":9,"permalink":"la-chambre-en-fourrure-4ae9af4f-4971-43ba-b568-6c3daea1a58a","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/706/medium_500/Schermafbeelding_2026-03-30_102152.png?1774859000","cached_actor_names":"Nicola L.","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/095/706/large/Schermafbeelding_2026-03-30_102152.png?1774859000","poster_credits":"© Nicola L. Collection \u0026 Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31831,"title":"Silence","dimensions":"90 x 260 cm","date_begin":"1972-01-01","material":"Ink on textile","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":253,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Collectie M HKA, Antwerpen / Collectie Vlaamse Gemeenschap","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eHet werk was opgenomen in volgende tentoonstellingen:\u003c/p\u003e\u003cp\u003e\u003ci\u003eJe/Nous.Wij/Ik\u003c/i\u003e, 23 mei – 13 juli 1975, Museum van Elsene, Brussel, catalogus\u003c/p\u003e\u003cp\u003e\u003ci\u003eNicola - Pénétrables\u003c/i\u003e, 28 februari - 28 maart 1976, ICC, Antwerpen, catalogus\u003c/p\u003e\u003cp\u003e\u003ci\u003eWoord en Beeld in de Belgische Kunst\u003c/i\u003e, 27 juni - 15 november 1992, MUHKA, Antwerpen, catalogus\u003c/p\u003e","date_end":null,"reference":"BK009478","stream_count_app":37,"permalink":"silence-c7e119ed-1ce8-42ac-84f6-6abaea79cf19","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003e\u003ci\u003eSilence \u003c/i\u003emaakt deel uit van een reeks banners waarmee Nicola L. de straat op trok. Ze werden voor het eerst tentoongesteld op de tentoonstelling \u003ci\u003eJe/Nous.Wij/Ik\u003c/i\u003e van 23 mei tot 13 juli 1975 in het Museum van Elsene in Brussel, waar werken werden verzameld die de gespannen relatie tussen het individu en de samenleving verbeelden. De tentoonstelling was bedoeld om het linkse tijdschrift \u003ci\u003ePour\u003c/i\u003e van Isi Fiszman en Jean-Claude Garot van het faillissement te redden. Nicola L. plaatste vier banners in de kelder op twee palen, als voor een demonstratie, met volgende tekst: wij willen zien, wij willen horen, wij willen voelen, wij willen aanraken.\u003c/p\u003e\u003cp\u003eLater werd deze banner ook getoond op haar retrospectieve tentoonstelling in het ICC (1976) en tijdens een groepstentoonstelling in het MUHKA (\u003ci\u003eWoord en Beeld in de Belgische Kunst\u003c/i\u003e, 27 juni - 15 november 1992). Dit werk is afkomstig uit de collectie van Flor Bex en Lieve De Deyne.\u003c/p\u003e","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/000/077/085/medium_500/Nicola_L.__Silence__collectie_Florent_Bex_1.jpg?1645532638","cached_actor_names":"Nicola L.","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/085/large/Nicola_L.__Silence__collectie_Florent_Bex_1.jpg?1645532638","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003eSilence \u003c/i\u003eis part of a series of banners that Nicola L. took out onto the streets. They were first exhibited at the \u003ci\u003eJe/Nous.We/Me\u003c/i\u003e exhibition from 23 May to 13 July 1975 at the Museum van Elsene in Brussels, which collected works depicting the tense relationship between the individual and society. The exhibition was intended to save the left-wing magazine \u003ci\u003ePour\u003c/i\u003e by Isi Fiszman and Jean-Claude Garot from bankruptcy. Nicola L. placed four banners in the basement on two poles, as if for a demonstration, with the following text: we want to see, we want to hear, we want to feel, we want to touch.\u003c/p\u003e\u003cp\u003eThis banner was later also shown at her retrospective exhibition at the ICC (1976) and during a group exhibition at the MUHKA (\u003ci\u003eWoord en Beeld in de Belgische Kunst\u003c/i\u003e, 27 June - 15 November 1992). This work comes from the collection of Flor Bex and Lieve De Deyne.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ci\u003eSilence \u003c/i\u003emaakt deel uit van een reeks banners waarmee Nicola L. de straat op trok. Ze werden voor het eerst tentoongesteld op de tentoonstelling \u003ci\u003eJe/Nous.Wij/Ik\u003c/i\u003e van 23 mei tot 13 juli 1975 in het Museum van Elsene in Brussel, waar werken werden verzameld die de gespannen relatie tussen het individu en de samenleving verbeelden. De tentoonstelling was bedoeld om het linkse tijdschrift \u003ci\u003ePour\u003c/i\u003e van Isi Fiszman en Jean-Claude Garot van het faillissement te redden. Nicola L. plaatste vier banners in de kelder op twee palen, als voor een demonstratie, met volgende tekst: wij willen zien, wij willen horen, wij willen voelen, wij willen aanraken.\u003c/p\u003e\u003cp\u003eLater werd deze banner ook getoond op haar retrospectieve tentoonstelling in het ICC (1976) en tijdens een groepstentoonstelling in het MUHKA (\u003ci\u003eWoord en Beeld in de Belgische Kunst\u003c/i\u003e, 27 juni - 15 november 1992). Dit werk is afkomstig uit de collectie van Flor Bex en Lieve De Deyne.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003ci\u003eSilence \u003c/i\u003efait partie d’une série de bannières avec lesquelles Nicola L. a manifesté dans la rue. Elles ont été présentées pour la première fois lors de l’exposition \u003ci\u003eJe/Nous.Wij/Ik\u003c/i\u003e du 23 mai au 13 juillet 1975 au Musée d’Elsene à Bruxelles, où des travaux représentant les relations tendues entre l’individu et la société ont été rassemblés. L’exposition avait pour objectif de sauver la revue de gauche \u003ci\u003ePour\u003c/i\u003e d’Isi Fiszman et de Jean-Claude Garot de la faillite. Nicola L. a placé quatre bannières dans la cave sur deux poteaux, comme pour une manifestation, avec le texte suivant\u0026nbsp;: nous voulons voir, nous voulons entendre, nous voulons sentir, nous voulons toucher.\u003c/p\u003e\u003cp\u003eCette bannière a été ultérieurement également affichée dans son exposition rétrospective au ICC (1976) et à l’occasion d’une exposition collective au MUHKA (\u003ci\u003eWoord en Beeld in de Belgische Kunst\u003c/i\u003e [Mot et image dans l’art belge], 27 juin - 15 novembre 1992). Ce travail provient de la collection de Flor Bex et de Lieve De Deyne.\u003c/p\u003e"}]}]