[{"id":452,"title":"Kalpetran","dimensions":"97 x 69 cm","date_begin":"2003-01-01","material":"lambda colorprint, aluminium","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"lambda colorprint aluminium","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7611_M382","stream_count_app":32,"permalink":"kalpetran","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Vaast Colson","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/000/001/005/large/Colson,%20Vaast,%20Kalpetran,%202003%20photo%20the%20artist.jpg?1304064074","poster_credits":"©Vaast Colson","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eKalpetran\u003c/em\u003e\u0026nbsp;is the title of this autobiographical work: a photograph of the artist donning folkloric alpine attire while searching for a particular stone that he was carrying around as a child one day during a holiday with his parents in the Swiss Gr\u0026auml;chen. Colson had been forced to leave this stone behind, and this performance shows him trying to retrieve this talismanic trace of a long-lost innocence \u0026ndash; the philosopher\u0026rsquo;s stone which may well have put him on his way towards becoming an artist.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet fotografische zelfportret\u003cem\u003e Kalpetran\u003c/em\u003e\u0026nbsp;herinnert aan Colsons zoektocht, enkele jaren geleden, naar een steen die hij tijdens een bergwandeling in het Zwitserse Gr\u0026auml;chen in 1988 als jonge knaap moest achterlaten. De herenscenering van deze odyssee, compleet met alpinopet en traditioneel klimmersplunje, symboliseert de zoektocht van de kunstenaar naar de spreekwoordelijke steen der wijzen die hem op weg heeft gezet.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":3821,"title":"Barter","dimensions":"20 x 20 x 20 cm","date_begin":"2010-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"edition multiple","publishing_process_id":1,"annotation":"\u003cp\u003eEen muzikale reflectie op het werk van Vaast Colson ligt voor de hand. Marcel Vermeulen (\u0026deg;1963) vergelijkt de directheid en impact van zijn werk met het effect van een gitaarriffs: korte, repetitieve motiefjes die veel voorkomen in rock- en popmuziek. \u003cem\u003eRiffs 1\u003c/em\u003e\u0026nbsp;is een compositie voor viool en cello, die uitgaat van twee bekende gitaarriffs om vervolgens via deconstructie, polyritmiek en ongebruikelijke maatsoorten te komen tot een meer complex, klassiek, maar vlot te beluisteren origineel werk. Het is aan de bezoeker van de tentoonstelling om te oordelen of dit opzet is geslaagd en uit te zoeken om welke twee werken het gaat.\u003c/p\u003e\r\n","date_end":null,"reference":"BK7735_M484","stream_count_app":54,"permalink":"barter","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eIn seinre Arbeit beugt Vaast Colson sich \u0026uuml;ber das Entstehen des Bilds, die Methode der bildhaften Sprache. Die Objekte, Materialien, Bilder, Texturen, Farben, T\u0026ouml;ne, und R\u0026auml;ume, die er nutzt, sollen dem Bild dienen. Er passt Bilder wie pr\u0026auml;zise Puzzles ineinander. F\u0026uuml;r Colson sind Bilder vergleichbar mit Riffs einer Gitarre: Sobald sie Effekt haben, sind sie in Ordnung. Es wird nicht zuerst nach spezifischen Emotionen oder Themen, die zum Ausdruck gebracht werden sollen, gesucht. Es geht um den Gedanken und Gef\u0026uuml;hle, die sie ausl\u0026ouml;sen. Um den Vergleich mit der Musik vollst\u0026auml;ndig zu machen, kann man sagen, dass Colson Muster aus der Welt schneidet und die mischt mit Musikbildern.\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Vaast Colson","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/017/large/JURGEN_ADDIERS_M_HKA_12.jpg?1350976279","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eIn his work Vaast Colson concentrates on how an image comes into being, the methods involved in visual language. The objects, materials, images, textures, colours, sounds and spaces that he makes use of, must serve the final art work. He fits his images like precise parts of a puzzle. For Colson, his sculptures are comparable to guitar-riffs: if they achieve their effect, they\u0026rsquo;re fine. He does not start from the premise of having to express specific emotions or subjects. Rather, it\u0026rsquo;s about having the work evoke thoughts and feelings. To continue the musical allusion, Colson cuts samples out of the world and mixes his own image-compositions with them.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eIn zijn werk buigt Vaast Colson zich over het ontstaan van het beeld, de methodiek van de beeldende taal. De voorwerpen, materialen, beelden, texturen, kleuren, klanken en ruimtes waar hij gebruik van maakt, moeten het beeld dienen. Hij past beelden ineen als precieze puzzels. Voor Colson zijn beelden te vergelijken met gitaarriffs: zodra ze effect sorteren, zijn ze in orde. Er wordt niet eerst gezocht naar specifieke emoties of onderwerpen die tot uitdrukking gebracht moeten worden. Het gaat om de gedachten en gevoelens die ze oproepen. Om de vergelijking met de muziek compleet te maken kunnen we stellen dat Colson samples uit de wereld snijdt en er muziek van beelden mee mixt.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eDans son \u0026oelig;uvre, \u003cstrong\u003eVaast Colson \u003c/strong\u003ese penche sur l\u0026#39;existence de l\u0026#39;image, la m\u0026eacute;thodique de la langue imag\u0026eacute;e. Les objets, les mat\u0026eacute;riaux, les images, les textures, les couleurs, les sons et les espaces o\u0026ugrave; il l\u0026#39;utilise doivent servir l\u0026#39;image. Il int\u0026egrave;gre les images comme des puzzles pr\u0026eacute;cis. Pour Colson, les images sont comparables \u0026agrave; des riffs de guitare : d\u0026egrave;s qu\u0026#39;elles calibrent un effet, elles sont en ordre. Il ne recherche pas en premier lieu des \u0026eacute;motions sp\u0026eacute;cifiques ou des objets qui doivent trouver une expression. Il s\u0026#39;agit des r\u0026eacute;flexions et des sensations qu\u0026#39;ils engendrent. Pour compl\u0026eacute;ter la comparaison avec la musique, nous pouvons \u0026eacute;tablir que Colson d\u0026eacute;coupe des \u0026eacute;chantillons du monde et les m\u0026eacute;lange \u0026agrave; de la musique d\u0026#39;images.\u003c/p\u003e\r\n"}]},{"id":3816,"title":"1 hour 30 minutes sculpture","dimensions":"86.5 x 88.6 x 5 cm","date_begin":"2003-01-01","material":"lambda print","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"edition multiple","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7612_M383","stream_count_app":35,"permalink":"1-hour-30-minutes-sculpture","description_ru":"","description_de":"\u003cp\u003eEin unscharfes Schwarzwei\u0026szlig;-Foto zeigt uns drei M\u0026auml;nner, die begierig einen Haufen Geld in einer Vitrine anschauen, das zum Greifen nahe liegt, denn im Glas wurde ein kreisf\u0026ouml;rmiges Loch ausgeschnitten. Es ist eine Momentaufnahme mit \u0026Uuml;berwachungskamera. Unter dem Bild wird ein Text dargestellt, der die Zuschauer \u0026uuml;ber den genauen Kontext des Geschehens informiert, und ein Dankwort des K\u0026uuml;nstlers an die drei M\u0026auml;nner.\u003c/p\u003e\r\n\r\n\u003cp\u003eVaast Colson schnitt das zylinderf\u0026ouml;rmige Loch mit einem exakten Durchmesser von 25 Zentimeter in die Vitrine des Ausstellungsraums \u0026lsquo;Looking Glass window-gallerie\u0026rsquo; in der Dansaertstra\u0026szlig;e in Br\u0026uuml;ssel. Der Name der Galerie verweist auf die Tatsache, dass sie nicht \u0026ouml;ffentlich zug\u0026auml;nglich ist. Es ist eigentlich eine Ausstellungsvitrine. Der K\u0026uuml;nstler versuchte somit eine Weise zu finden, wie er die Aufmerksamkeit der Passanten auf sich lenken konnte.\u003c/p\u003e\r\n\r\n\u003cp\u003eVaast Colson schloss das so gemachte Fensterloch mit Hilfe eines Ballons wieder zu. Die eigentliche Skulptur, die sich hinter dem Fensterloch befand, bestand aus 500 Ein-Euro-M\u0026uuml;nzen, die auf einem Sockel gestapelt wurden. Mit dieser Geldskulptur forderte er den Zuschauer heraus: wer wagt es, den Lufballon zu zerplatzen, um sich das Geld zu nehmen?\u003c/p\u003e\r\n\r\n\u003cp\u003eDie drei M\u0026auml;nner, die auf dem Foto zu sehen sind, wie im Text unter dem Foto erkl\u0026auml;rt wird, haben die Initiative ergriffen. Die Zeit und somit der Titel des Werks wurde demnach von ihnen bestimmt.\u003c/p\u003e\r\n\r\n\u003cp\u003eDieses Ereignis stellt sofort ein wichtiges Element im Werk von Vaast Colson ins Licht, d.h. die Beteiligung von Dritten. Die Interaktion und die Anwesenheit eines Publikums ist f\u0026uuml;r ihn sehr wichtig. Die Aktion, in diesem Fall das Wegnehmen von Geld, steht beim K\u0026uuml;nstler sehr oft im Mittelpunkt. Das Foto ist eine Erinnerung, ein \u0026Uuml;berbleibsel der Aktion.\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/000/037/011/large/2017_SUPERDEMOCRATIE_Senaat_photo_M_HKA_6_73.jpg?1506695445","poster_credits":"image: (c) M HKA, Collection M HKA","translations":[{"locale":"en","description":"\u003cp\u003eA blurred black and white photo shows three men avidly looking at a pile of money in a showcase waiting to be grabbed through the circular hole cut out in the glass. It is a \u003cem\u003estill\u003c/em\u003e picture of a recording by a surveillance camera. Below the image, a text is displayed that gives the viewer the exact context of the event and a word of gratitude by the artist to the three men.\u003c/p\u003e\r\n\r\n\u003cp\u003eVaast Colson made the circular hole with an exact diameter of 25 centimeters in the showroom of the exhibition space \u0026#39;Looking Glass window gallery\u0026#39; in the Dansaertstraat in Brussels. The name of the gallery refers to the fact that it is not accessible to the public. It\u0026#39;s actually an exhibition display window. The artist thus tried to find a way to attract the attention of passers-by.\u003c/p\u003e\r\n\r\n\u003cp\u003eVaast Colson filled the hole in the window using a balloon. The actual sculpture that was right behind the window was made of 500 one-euro coins stacked on a pedestal. With the money sculpture, he challenged the spectator: \u0026ldquo;Do you dare pop the balloon and take the money?\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eThe three men who are featured in the picture, as described in the text, took action. The time and hence the title of the work were subsequently determined by them.\u003c/p\u003e\r\n\r\n\u003cp\u003eThis event directly highlights an important element in the work of Vaast Colson, namely the involvement of third parties. He experiences the interaction and presence of an audience as something important. The action, in this case taking the money, is often the focus of the artist. The picture is a souvenir: a remnant of the action.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEen onscherpe\u0026nbsp; zwart-witfoto toont ons drie mannen die begerig\u0026nbsp;naar een stapeltje geld in een vitrine kijken, dat voor het grijpen ligt dankzij het cirkelvormige gat dat werd uitgesneden in het glas. Het is een\u0026nbsp;\u003ci\u003estill\u003c/i\u003e\u0026nbsp;van een opname met een bewakingscamera. Onder het beeld wordt een tekst weergegeven die de toeschouwer de exacte context geeft van het gebeuren en een dankwoord van de kunstenaar gericht aan de drie mannen.\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eVaast\u0026nbsp;Colson\u0026nbsp;maakte het cilindervormige gat met een exacte doorsnede van 25 centimeter in de vitrine van de tentoonstellingsruimte \u0026lsquo;Looking\u0026nbsp;Glass\u0026nbsp;window-gallerie\u0026rsquo; in de\u0026nbsp;Dansaertstraat\u0026nbsp;te Brussel. De naam van de galerie verwijst naar het feit dat ze niet toegankelijk is voor publiek. Het is eigenlijk een tentoonstellingsvitrine. De kunstenaar trachtte dus een manier te vinden om de aandacht te trekken van passanten.\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eVaast\u0026nbsp;Colson\u0026nbsp;vulde het gemaakte venstergat met behulp van een ballon weer op. De eigenlijke sculptuur die zich recht achter het venstergat bevond, bestond uit 500 munten van \u0026eacute;\u0026eacute;n euro die op een sokkel werden gestapeld. Met de geldsculptuur daagde hij de toeschouwer uit: Durf je de ballon doorprikken en het geld nemen?\u0026nbsp;\u003cbr /\u003e\r\nDe drie mannen die op de foto te zien zijn, zoals in de tekst onder de foto wordt gesteld, gingen tot actie over. De tijdsduur en daarmee ook de titel van het werk werd bij gevolg mee door hen bepaald.\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDit gebeuren stelt meteen een belangrijk element binnen het werk van\u0026nbsp;Vaast\u0026nbsp;Colson\u0026nbsp;in het licht, namelijk de betrokkenheid van derden. De interactie en aanwezigheid van een publiek ervaart hij als belangrijk. De actie, in dit geval het wegnemen van het geld, staat\u0026nbsp;vaak centraal bij de kunstenaar. De foto is een herinnering;\u0026nbsp;een overblijfsel van de actie.\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eUne photo en noir et blanc floue nous montre trois hommes regardant avec avidit\u0026eacute; un tas de monnaie dans une vitrine, argent qui leur tend les bras gr\u0026acirc;ce \u0026agrave; un trou circulaire d\u0026eacute;coup\u0026eacute; dans la vitre. Il s\u0026rsquo;agit d\u0026rsquo;un arr\u0026ecirc;t sur image d\u0026rsquo;une cam\u0026eacute;ra de surveillance. Sous l\u0026rsquo;image, un texte informe le spectateur du contexte exact de l\u0026rsquo;\u0026eacute;v\u0026eacute;nement et reprend les remerciements de l\u0026rsquo;artiste aux trois hommes.\u003c/p\u003e\r\n\r\n\u003cp\u003eC\u0026rsquo;est dans la vitrine de la galerie d\u0026rsquo;art \u0026laquo;\u0026nbsp;Looking Glass window-gallerie\u0026nbsp;\u0026raquo; de la rue Dansaert \u0026agrave; Bruxelles que Vaast Colson avait d\u0026eacute;coup\u0026eacute; cet orifice cylindrique de 25 centim\u0026egrave;tres de diam\u0026egrave;tre tr\u0026egrave;s pr\u0026eacute;cis\u0026eacute;ment. Le nom de la galerie indique qu\u0026rsquo;elle n\u0026rsquo;est pas accessible au public, et qu\u0026rsquo;il s\u0026rsquo;agit, en fait, d\u0026rsquo;une vitrine d\u0026rsquo;exposition. L\u0026rsquo;artiste essaie de trouver une mani\u0026egrave;re d\u0026rsquo;attirer l\u0026rsquo;attention des passants.\u003c/p\u003e\r\n\r\n\u003cp\u003eVaast Colson a ensuite rebouch\u0026eacute; l\u0026rsquo;orifice \u0026agrave; l\u0026rsquo;aide d\u0026rsquo;un ballon. La sculpture en tant que telle, plac\u0026eacute;e juste derri\u0026egrave;re le trou, \u0026eacute;tait constitu\u0026eacute;e de 500 pi\u0026egrave;ces d\u0026rsquo;un euro empil\u0026eacute;es sur un socle. Avec cette sculpture mon\u0026eacute;taire, il d\u0026eacute;fiait le spectateur\u0026nbsp;: oserais-tu percer le ballon et prendre l\u0026rsquo;argent\u0026nbsp;?\u003cbr /\u003e\r\nLes trois hommes de la photo, tel que le texte le relate, sont en effet pass\u0026eacute;s \u0026agrave; l\u0026rsquo;action. La dur\u0026eacute;e de leur action a contribu\u0026eacute; \u0026agrave; fixer le titre de l\u0026rsquo;\u0026oelig;uvre.\u003c/p\u003e\r\n\r\n\u003cp\u003eCet \u0026eacute;v\u0026eacute;nement met en lumi\u0026egrave;re la participation de tierces personnes, \u0026eacute;l\u0026eacute;ment important du travail de Vaast Colson. L\u0026rsquo;interaction et la pr\u0026eacute;sence d\u0026rsquo;un public sont importants pour lui. L\u0026rsquo;action, dans ce cas-ci, la subtilisation de l\u0026rsquo;argent, est centrale chez cet artiste. La photo est un souvenir\u0026nbsp;; un reste de l\u0026rsquo;action.\u003c/p\u003e\r\n"}]},{"id":11636,"title":"Het middelpunt van de belangstelling","dimensions":"164.5 x 122 cm","date_begin":"2014-01-01","material":"oil on panel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"het-middelpunt-van-de-belangstelling","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Dennis Tyfus, Vaast Colson","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/000/024/333/large/Vaast_Colson___Dennis_Tyfus_20_print.jpg?1407848702","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eVaast Colson \u0026amp; Dennis Tyfus, ever partners in art crime,\u0026nbsp;have again joined forces for the project\u003cem\u003e\u0026nbsp;\u0026lsquo;Radikaal \u0026amp; Radikaler\u0026rsquo;\u003c/em\u003e. \u0026nbsp;These artists, each in his own way, critically call into question the commercial circuit while remaining allergic to \u0026#39;recuperation\u0026#39;, in whatever guise.\u0026nbsp; And they often express this in a way that runs from fresh-faced humor to dark irony.\u0026nbsp; In\u0026nbsp;\u003cem\u003e\u0026lsquo;Radikaal \u0026amp; Radikaler\u0026rsquo;\u003c/em\u003e\u0026nbsp;they resolutely take on the total notion of the \u0026#39;art scene\u0026#39; in all its many permutations: drawing, painting, the artist\u0026#39;s copyright, price determination, the market, the image\u0026hellip; Colson \u0026amp; Tyfus each made a series of drawings on paper, that they at once crumpled up and hid in a grab bag full of paper shreds.\u0026nbsp; Next, they took turns removing one of these squashed papers and using it as the basis for a painting: so it could be that Colson painted a drawing of Tyfus, or vice versa.\u0026nbsp; Or they would both work on a single piece.\u0026nbsp; This painting is one of this series.\u0026nbsp; The project kicked off in the Trampoline Gallery.\u0026nbsp; Each work had a number, and each visitor to the gallery could (or can) designate one or more works that they might be interested in buying.\u0026nbsp; For this, each candidate-buyer would then dip into a second grab bag and pick a piece of crumpled paper with the price - from 100 to 10,000 euro.\u0026nbsp; If you\u0026#39;re lucky, and you like the price, the purchase is yours...\u003c/p\u003e\r\n\r\n\u003cp\u003eThe grab bag is in a way a reflection of current society: everybody grabs and rummages to their heart\u0026#39;s content; you might pick a winner, if not, just throw it away.\u0026nbsp; And the paper shredder plays its role too, as we read in the small, but splendid, gallery catalogue.\u0026nbsp; For inspiration, Colson \u0026amp; Tyfus avidly mine the clich\u0026eacute;-like \u003cem\u003eand\u003c/em\u003e the freshness that so typifies \u0026#39;new painting\u0026#39;.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eVaast Colson \u0026amp; Dennis Tyfus, altijd al partners in art crime,\u0026nbsp;hebben elkaar weergevonden in het project\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003cem\u003e\u0026lsquo;Radikaal \u0026amp; Radikaler\u0026rsquo;\u003c/em\u003e. Beiden zijn kunstenaars\u0026nbsp;die, elk op hun eigen wijze, het commerci\u0026euml;le kunstcircuit kritisch bevragen en allergisch zijn voor\u0026nbsp;recuperatie, van welke aard dan ook. Dat gaat\u0026nbsp;meestal gepaard met een flinke portie frisse humor\u0026nbsp;tot donkere ironie.\u0026nbsp;In \u003cem\u003e\u0026lsquo;Radikaal \u0026amp; Radikaler\u0026rsquo;\u003c/em\u003e gaan ze keihard om\u0026nbsp;met het gegeven \u0026lsquo;kunstscene\u0026rsquo; in haar diverse\u0026nbsp;vormen en uitingen: tekenen, schilderen, het auteursrecht\u0026nbsp;van de kunstenaar, de prijssetting, de\u0026nbsp;markt, het imago, \u0026hellip; Colson \u0026amp; Tyfus maakten elk\u0026nbsp;een serie tekeningen op papier, die ze meteen\u0026nbsp;verfrommelden en verborgen in een grabbelton\u0026nbsp;vol papiersnippers. Vervolgens haalden ze er\u0026nbsp;elk om beurt een verfrommeld papier uit en gebruikten\u0026nbsp;dat als basis voor een schilderij: het kon\u0026nbsp;dus zijn dat Colson een tekening van Tyfus schilderde\u0026nbsp;en omgekeerd. Of ze werkten beiden aan\u0026nbsp;\u0026eacute;\u0026eacute;n werk. Dit schilderij is er een uit deze reeks. Het project ging van start in galerij Trampoline. Elk werk had een nummer. Iedere\u0026nbsp;bezoeker van Trampoline kon\u0026nbsp;\u0026eacute;\u0026eacute;n of meerdere\u0026nbsp;werken aanduiden om eventueel te kopen:\u0026nbsp;daarvoor moet de kandidaat-koper in een andere\u0026nbsp;ton weerom een verfrommeld papier opduikelen\u0026nbsp;waarop een prijs staat: van 100 tot 10.000 euro.\u0026nbsp;Als je geluk hebt en de prijs je bevalt, kan je het\u0026nbsp;werk aan dat bedrag kopen.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe grabbelton is zoals onze samenleving nu ook\u0026nbsp;voor een stuk is: iedereen grabbelt naar hartenlust,\u0026nbsp;als je geluk hebt heb je prijs, anders gooi je\u0026nbsp;het weg. En ook de papiervernietiger speelt zijn\u0026nbsp;rol, zo lezen we in de kleine, maar fijne galeriecatalogus. Colson \u0026amp; Tyfus lieten zich gretig en rijkelijk\u0026nbsp;inspireren door al het clich\u0026eacute;matige \u0026eacute;n het\u0026nbsp;frisse dat de \u0026lsquo;nieuwste schilderkunst\u0026rsquo; zo typeert.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eVaast Colson et Dennis Tyfus, toujours partenaires de l\u0026#39;art crime,\u0026nbsp;se sont retrouv\u0026eacute;s autour du projet \u0026nbsp;\u0026lsquo;Radikaal \u0026amp; Radikaler\u0026rsquo; (\u0026#39;Radical et plus radical\u0026#39;). Tous deux sont des artistes qui, chacun \u0026agrave; sa mani\u0026egrave;re, jettent un regard critique sur le circuit commercial et sont allergiques \u0026agrave; la r\u0026eacute;cup\u0026eacute;ration, de quelque nature que ce soit. Cela s\u0026#39;accompagne g\u0026eacute;n\u0026eacute;ralement d\u0026#39;une bonne dose d\u0026#39;humour frais pouvant aller jusqu\u0026#39;\u0026agrave; une sombre ironie.\u0026nbsp;Dans \u0026lsquo;Radikaal \u0026amp; Radikaler\u0026rsquo;, ils s\u0026#39;attaquent violemment \u0026agrave; la \u0026#39;sc\u0026egrave;ne artistique\u0026#39; donn\u0026eacute;e dans ses diverses formes et expressions : dessin, peinture, droit d\u0026#39;auteur de l\u0026#39;artiste, tarification, march\u0026eacute;, image, ... Colson et Tyfus ont r\u0026eacute;alis\u0026eacute; chacun une s\u0026eacute;rie de dessins sur papier qu\u0026#39;ils ont imm\u0026eacute;diatement froiss\u0026eacute;s et dissimul\u0026eacute;s dans un f\u0026ucirc;t d\u0026eacute;bordant de chutes de papier. Ensuite, ils en ont tir\u0026eacute; chacun \u0026agrave; son tour un papier chiffonn\u0026eacute; et ils l\u0026#39;ont utilis\u0026eacute; comme base pour r\u0026eacute;aliser une peinture : Colson pouvait donc peindre un dessin de Tyfus et inversement. Ou bien ils travaillaient tous les deux sur une seule \u0026oelig;uvre. Cette peinture fait partie de cette s\u0026eacute;rie. Le projet a d\u0026eacute;marr\u0026eacute; dans la galerie Trampoline. Chaque \u0026oelig;uvre portait un num\u0026eacute;ro. Chaque visiteur de Trampoline pouvait/peut d\u0026eacute;signer une ou plusieurs \u0026oelig;uvres \u0026agrave; acheter \u0026eacute;ventuellement :\u0026nbsp;pour ce faire, le candidat \u0026agrave; l\u0026#39;achat doit \u0026agrave; nouveau aller p\u0026ecirc;cher, dans un autre f\u0026ucirc;t, un papier froiss\u0026eacute; sur lequel figure un prix : de 100 \u0026agrave; 10.000\u0026nbsp;euros.\u0026nbsp;Si vous avez de la chance et si le prix vous convient, vous pouvez acheter l\u0026#39;\u0026oelig;uvre pour ce montant.\u003c/p\u003e\r\n\r\n\u003cp\u003eLe f\u0026ucirc;t est \u0026agrave; l\u0026#39;image de notre soci\u0026eacute;t\u0026eacute; aujourd\u0026#39;hui : tout le monde va \u0026agrave; la p\u0026ecirc;che \u0026agrave; volont\u0026eacute;, si vous avez de la chance vous obtenez un bon prix, sinon vous jetez le papier. Et le destructeur de papier joue son r\u0026ocirc;le \u0026eacute;galement d\u0026#39;apr\u0026egrave;s ce que nous lisons dans le catalogue de la galerie, petit mais raffin\u0026eacute;. Colson et Tyfus se sont laiss\u0026eacute;s avidement et richement inspirer par tous les clich\u0026eacute;s et la fra\u0026icirc;cheur qui caract\u0026eacute;risent le \u0026#39;dernier art de la peinture\u0026#39;.\u003c/p\u003e\r\n"}]},{"id":7918,"title":"To retitle an object daily during the course of a show ","dimensions":"H 95 cm","date_begin":"2006-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Micky Mouse","publishing_process_id":1,"annotation":"","date_end":"2013-01-01","reference":"","stream_count_app":38,"permalink":"to-retitle-an-object-daily-during-the-course-of-a-show","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Vaast Colson","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/000/017/733/large/image_4854.jpg?1370519080","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eEvery day an object is provided by Colson with a different title, to try to \u0026#39;recharge\u0026#39; the object.It is a rather logical, consistent way to think about this article every day. In M HKA it is a publicity and merchandising \u0026#39;Micky Mouse\u0026#39; figure from Vrielynckcollectie (RV8_001). After having been on display and retitled every day for a month, all titles will be put together in one list that will become the work that belongs to M HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eFormer executions:\u003c/strong\u003e\u003cbr /\u003e\r\n2006: An everyday object: blue bucket\u003cbr /\u003e\r\n2007: A Desired Object: Electric Guitar\u003cbr /\u003e\r\n2013: A commissioned item: Mickey Mouse (Vrielinckcollectie)\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cstrong\u003eTitles: \u003c/strong\u003e\u003cbr /\u003e\r\n07.06.2013 08.06.2013 [I think someone slipped me a Mickey]\u0026nbsp;\u003cbr /\u003e\r\n09.06.2013 [On behalf of the collection, welcome]\u003cbr /\u003e\r\n10.06.2013 [Orakel]\u003cbr /\u003e\r\n11.06.2013 [Slightly overdressed but happy to be here]\u003cbr /\u003e\r\n13.06.2013 [The Mouse - Oil on canvas, 138 X 78 cm]\u003cbr /\u003e\r\n14.06.2013 [www.youtube.com/watch?v=AG1CDiLcznc]\u003cbr /\u003e\r\n15.06.2013 [Pleased to meet you hope you guess my name]\u003cbr /\u003e\r\n16.07.2013 [Je bent nooit volledig gekleed tot je een glimlach draagt.]\u003cbr /\u003e\r\n17.06.2013 [Muizenissen in het M HKA]\u003cbr /\u003e\r\n18.06.2013 [La libert\u0026eacute; \u0026eacute;clairant le monde]\u003cbr /\u003e\r\n19.06.2013 [odoodem]\u003cbr /\u003e\r\n20.06.2013 [Ridicule pole]\u003cbr /\u003e\r\n21.06.2013 [Ever yours, Relaxy Mouse]\u003cbr /\u003e\r\n22.06.2013 [Visual example]\u003cbr /\u003e\r\n23.06.2013 [red, white, black \u0026amp; blue]\u003cbr /\u003e\r\n24.06.2013 [... en toen werd het insnoeringsproces ingeluid.]\u003cbr /\u003e\r\n25.06.2013 [Title and Retitle were on a boat, Title jumped out, who is left on the boat?]\u003cbr /\u003e\r\n26.06.2013 [How would Harry get out of this one?]\u003cbr /\u003e\r\n27.06.2013 [Slampamper]\u003cbr /\u003e\r\n28.06.2013 [The Flying Saint]\u003cbr /\u003e\r\n29.06.2013 [Levitate Me]\u003cbr /\u003e\r\n30.06.2013 [I could hang here for days with one arm tied behind my back.]\u003cbr /\u003e\r\n01.07/2013 [Voorproever]\u003cbr /\u003e\r\n02.07.2013 [Formeel het formele formaliseren.]\u003cbr /\u003e\r\n03.07.2013 [Het is langst hier.]\u003cbr /\u003e\r\n04.07.2013 [Overlangs of dwars doormidden?]\u003cbr /\u003e\r\n05.07.2013 [..., now dance around the object.]\u003cbr /\u003e\r\n06.07.2013\u0026nbsp;07.07.2013 [Rub belly for luck]\u003c/p\u003e\r\n\r\n\u003cp\u003eVaast Colson ties an object to a statue, and gives it a different title every day for the duration of one month. This is the third installment of a work that already has two previous versions. In the first version, Vaast Colson opted for using a banal object; a bucket. For the second version, he chose an object of his desire; a bass guitar. For the third version, he wants to use an object that has been chosen by the client, and which he then works on for one month, visiting the object every day to give it a different title. M HKA chooses Mickey Mouse. Mickey Mouse bids welcome and alludes to the ambiguity of what it means to be tied to a pole. The statue being part of the Vrielynck collection is an asset; this collection is literally tied to our architecture and thus also to the notion of visual culture as a broader question for M HKA.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDit zal de derde keer zijn dat het werk \u0026#39;To retitle an object daily during the course of a show\u0026#39; uitgevoerd wordt. Een voorwerp dat elke dag door Vaast Colson voorzien wordt van een andere titel, om te trachten het werk meer en meer betekenis te geven, het \u0026#39;op te laden\u0026#39;. Het is een eerder logische, consequente houding om elke dag over betreffende voorwerp na te denken en hiervoor een gemiddeld brutoloon van M HKA_werknemer te ontvangen. Het betreft hier een publiciteit en merchandising \u0026lsquo;Micky Mouse\u0026rsquo; figuur uit de Vrielynckcollectie (RV8_001). Na een maand ge\u0026euml;xposeerd te zijn geweest zal een titelplaat, met alle titels, gemaakt worden en is het werk af en behoort tot collectie.\u003c/p\u003e\r\n\r\n\u003cp\u003e2006 : An everyday object : blauwe emmer\u003cbr /\u003e\r\n2007 : A desired object : electrische gitaar\u003cbr /\u003e\r\n2013 : A commissioned object : Micky Mouse (Vrielinckcollectie)\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTitels:\u003cbr /\u003e\r\n7.06.2013 08.06.2013 [I think someone slipped me a Mickey]\u003cbr /\u003e\r\n09.06.2013 [On behalf of the collection, welcome]\u003cbr /\u003e\r\n10.06.2013 [Orakel]\u003cbr /\u003e\r\n11.06.2013 [Slightly overdressed but happy to be here]\u003cbr /\u003e\r\n13.06.2013 [The Mouse - Oil on canvas, 138 X 78 cm]\u003cbr /\u003e\r\n14.06.2013 [www.youtube.com/watch?v=AG1CDiLcznc]\u003cbr /\u003e\r\n15.06.2013 [Pleased to meet you hope you guess my name]\u003cbr /\u003e\r\n16.07.2013 [Je bent nooit volledig gekleed tot je een glimlach draagt.]\u003cbr /\u003e\r\n17.06.2013 [Muizenissen in het M HKA] 18.06.2013 [La libert\u0026eacute; \u0026eacute;clairant le monde]\u003cbr /\u003e\r\n19.06.2013 [odoodem]\u003cbr /\u003e\r\n20.06.2013 [Ridicule pole]\u003cbr /\u003e\r\n21.06.2013 [Ever yours, Relaxy Mouse]\u003cbr /\u003e\r\n22.06.2013 [Visual example]\u003cbr /\u003e\r\n23.06.2013 [red, white, black \u0026amp; blue]\u003cbr /\u003e\r\n24.06.2013 [... en toen werd het insnoeringsproces ingeluid.]\u003cbr /\u003e\r\n25.06.2013 [Title and Retitle were on a boat, Title jumped out, who is left on the boat?]\u003cbr /\u003e\r\n26.06.2013 [How would Harry get out of this one?]\u003cbr /\u003e\r\n27.06.2013 [Slampamper]\u003cbr /\u003e\r\n28.06.2013 [The Flying Saint]\u003cbr /\u003e\r\n29.06.2013 [Levitate Me]\u003cbr /\u003e\r\n30.06.2013 [I could hang here for days with one arm tied behind my back.]\u003cbr /\u003e\r\n01.07/2013 [Voorproever]\u003cbr /\u003e\r\n02.07.2013 [Formeel het formele formaliseren.]\u003cbr /\u003e\r\n03.07.2013 [Het is langst hier.]\u003cbr /\u003e\r\n04.07.2013 [Overlangs of dwars doormidden?]\u003cbr /\u003e\r\n05.07.2013 [..., now dance around the object.]\u003cbr /\u003e\r\n06.07.2013 07.07.2013 [Rub belly for luck]\u003c/p\u003e\r\n\r\n\u003cp\u003eVaast Colson bindt een object aan een zuil, en geeft een maand lang elke dag een andere titel. Dit is het derde luik van een werk dat al twee versies heeft. In de eerste versie ging het om een banaal object; een emmer. In de tweede luik om een object van zijn verlangen; een basgitaar. In een derde luik wil hij nu een object dat door de opdrachtgever is gekozen, en waar hij dan een maand lang mee bezig is, met elke dag een bezoek waarbij hij het een andere titel geeft. M HKA gaat voor Mickey Mouse. Mickey Mouse verwelkomt en speelt in op de dubbelheid van wat het betekent aan een paal gebonden te worden. Dat hij uit onze collectie Vrielynck komt is een meerwaarde; die is letterlijk aan onze architectuur verbonden en daarmee ook aan de notie van beeldcultuur als bredere vraag voor M HKA.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":5009,"title":"No more superheroes","dimensions":"","date_begin":"2001-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"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":"","stream_count_app":17,"permalink":"no-more-superheroes","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/000/009/229/large/Vaast_Colson_NoMoreSuperheroes.jpg?1336723427","poster_credits":"(c)image: Creative Commons Licence","translations":[{"locale":"en","description":"\u003cp\u003eIn the piece\u0026nbsp;\u003cem\u003eNo more superheroes\u0026nbsp;\u003c/em\u003efrom Vaast Colson, several of the artist\u0026#39;s investigations and sources of inspiration come to coincide.\u0026nbsp; The tagline is a clear reference to the album\u0026nbsp;\u003cem\u003eNo more heroes\u003c/em\u003e\u0026nbsp;by the Stranglers from the notorious punk-year of 1977.\u0026nbsp; The skateboard cult of the 1980s also provides a source of inspiration for Vaast Colson.\u0026nbsp; The drawing of a bat is again applied with an alcohol ink marker, held clamped by the artist in an anatomical nether-region.\u003c/p\u003e\u003cp\u003eA favorite theme within Colson\u0026#39;s oeuvre is related to the role of the artist.\u0026nbsp; He is constantly occupied with creating artistic roles, protagonists fashioned for himself.\u0026nbsp; With the piece \u003cem\u003eNo more superheroes\u003c/em\u003e\u003cem\u003e, \u003c/em\u003ethe artist seems to wish to distance the rolls he assigns himself from the heroic exploits of Modernism\u0026#39;s glory days.\u0026nbsp; Colson\u0026#39;s protagonists are indeed seldom tragic or dramatic.\u0026nbsp; His performances or interventions sometimes appear to lead nowhere; they even at times exude an air of boredom.\u0026nbsp; The portrait of the artist... as mythic anti-hero.\u0026nbsp; \u0026nbsp;\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eIn het werk\u0026nbsp;\u003cem\u003eNo more superheroes\u0026nbsp;\u003c/em\u003ekomen verschillende onderzoeken en inspiratiebronnen van Vaast Colson samen. De slagzin is een duidelijke verwijzing naar het album\u0026nbsp;\u003cem\u003eNo more heroes\u003c/em\u003e\u0026nbsp;van de Stranglers uit het beruchte punkjaar 1977. Ook de skateboard-cultus van de jaren 80 is een bron van inspiratie voor Vaast Colson. De tekening van een vleermuis is dan weer aangebracht met een alcoholstift die de kunstenaar vastgeklemd hield in een niet nader te omschrijven lichaamsdeel.\u003c/p\u003e\u003cp\u003eEen geliefkoosd thema binnen het werk van Colson is de vraag naar de rol van de kunstenaar. Hij is voortdurend bezig met het cre\u0026euml;ren van artistieke rollen, personages voor zichzelf. Met het werk\u0026nbsp;\u003cem\u003eNo more superheroes\u0026nbsp;\u003c/em\u003elijkt de kunstenaar de rollen die hij zich toemeet te willen distanti\u0026euml;ren van de heldendaden uit de hoogdagen van het modernisme. De personages van Colson zijn inderdaad zelden tragisch of dramatisch. Zijn performances of interventies lijken soms nergens toe te leiden en ademen zelfs soms verveling uit. De kunstenaar geportretteerd\u0026hellip; als mythische antiheld.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":13637,"title":"Guillotine Painting Series","dimensions":"300 x 240 cm , 340 x 100 cm, 190 x 150 cm","date_begin":"2016-01-01","material":"wood, aluminum, paint","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":112,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy: Vansteensel \u0026 De Caigny Gallery","cached_tag_list":"Still some cream on the screen Vaast Colson Show me yours \u0026 I'll show you mine","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"guillotine-painting-series","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/030/837/large/Colson_Photo_M_HKAclinckx237.jpg?1455815614","poster_credits":"Courtesy Vansteensel \u0026 De Caigny Gallery","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13638,"title":"Voorlopig Monument Voor Het Lokale","dimensions":"-/+ 2 x 6m  ","date_begin":"2013-01-01","material":"wood, paint","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy: Vansteensel \u0026 De Caigny Gallery","cached_tag_list":"Still some cream on the screen Vaast Colson Show me yours \u0026 I'll show you mine","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"voorlopig-monument-voor-het-lokale","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/000/030/846/large/photo_M_HKAclinckx.jpg?1455825531","poster_credits":"(c) image: M HKA - Vansteensel \u0026 De Caigny Gallery","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13642,"title":"Very Good Good Not So Good Bad","dimensions":"Variable dimensions","date_begin":"2015-01-01","material":"plastic tubes, frames posters","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy: Vansteensel \u0026 De Caigny Gallery","cached_tag_list":"Still some cream on the screen Vaast Colson Show me yours \u0026 I'll show you mine","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"very-good-good-not-so-good-bad","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/000/030/839/large/Colson_Photo_M_HKAclinckx_7.jpg?1455897413","poster_credits":"(c) M HKA - Courtesy Vansteensel \u0026 De Caigny Gallery","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13644,"title":"Andersoortigrendementssokkel","dimensions":"125 x 50 cm","date_begin":"2015-01-01","material":"Wood, paper, discolight","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Vansteensel \u0026 De Caigny Gallery","cached_tag_list":"Still some cream on the screen Vaast Colson Show me yours \u0026 I'll show you 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HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13649,"title":"Final Frame Fluked, Frame to Frame Analysis","dimensions":"variable dimensions","date_begin":"2016-01-01","material":"pinboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy Vansteensel \u0026 De Caigny Gallery","cached_tag_list":"Still some cream on the screen Vaast Colson Show me yours \u0026 I'll show you 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Gallery","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13640,"title":"Triomfkaart Tafel-Booth","dimensions":"187 x 244 x 366 cm","date_begin":"2013-01-01","material":"wood, paint, wooden board","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy Vansteensel \u0026 De Caigny Gallery","cached_tag_list":"Still some cream on the screen Vaast Colson Show me yours \u0026 I'll show you 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Gallery","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13634,"title":"Old Town Canoe","dimensions":"Variable dimensions","date_begin":"2015-01-01","material":"Concrete, plastic, metal, LED","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":"Courtesy: Vansteensel \u0026 De Caigny Gallery","cached_tag_list":"Still some cream on the screen Vaast Colson Show me yours \u0026 Ill show you mine","publishing_process_id":1,"annotation":"\u003cp\u003eDonation of Vrienden van het M HKA\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":20,"permalink":"old-town-canoe","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":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/000/030/835/large/Colson_Photo_M_HKAclinckx238.jpg?1455809496","poster_credits":"(c)image: M HKA - Courtesy Vansteensel \u0026 De Caigny Gallery","translations":[{"locale":"en","description":"\u003cp\u003eIn Vaast Colson\u0026rsquo;s opinion, a piece of art is not a finished product but part of his practice that can change shape and can be reactivated at different times. \u0026nbsp;\u003cem\u003eOld Town Canoe\u003c/em\u003e is in a third phase.\u003c/p\u003e\r\n\r\n\u003cp\u003eInitially, the canoe is located as a piece of text alongside a pond in Hoboken during the outdoor exhibition ART-FORT/FORT-ART in 2012. The words \u003cem\u003eGinds weet men raad\u003c/em\u003e [They know what to do there] have been cut out of the bottom. At the same time, however, this message of hope undermines the canoe\u0026rsquo;s main role, namely sailing. In a second phase, \u003cem\u003eOld Town Canoe\u003c/em\u003e is given a more permanent character in the shape of a sculpture. After all, a canoe can serve as a boat, but also as a hollow mould. Only a concrete cast remains.\u003c/p\u003e\r\n\r\n\u003cp\u003ePlaying with language plays an important role in the work of Colson. The artist cuts the original sentence in two and puts it back together as follows: \u003cem\u003eDada men r ginsweet\u003c/em\u003e. By placing hooks in various places, \u003cem\u003eOld Town Canoe\u003c/em\u003e becomes an accumulation work. The addition of a book on Dadaism gives the work an associative dimension. Visitors, however, can also activate \u003cem\u003eOld Town Canoe\u003c/em\u003e by attaching objects to it or using the concrete blocks as seating.\u003c/p\u003e\r\n\r\n\u003cp\u003eDonation of Vrienden van het M HKA\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eVoor Vaast Colson is een kunstwerk geen afgewerkt product, maar een deel van zijn praktijk dat van gedaante kan verwisselen en op verschillende momenten kan worden gereactiveerd. Zo bevindt \u003cem\u003eOld Town Canoe\u003c/em\u003e zich in een derde fase.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn eerste instantie ligt de kano tijdens de openluchttentoonstelling ART-FORT/FORT-ART in 2012 als tekstwerk naast een vijver in Hoboken. Uit de bodem is de tekst \u0026ldquo;Ginds weet men raad\u0026rdquo; gezaagd. Deze boodschap van hoop ondermijnt tegelijk de belangrijkste functie van de kano: varen. In een tweede fase krijgt \u003cem\u003eOld Town Canoe\u003c/em\u003e het eerder permanente karakter van een sculptuur. Een kano kan immers niet alleen als boot, maar ook als mal of holle gietvorm dienen. Enkel een betonnen afgietsel blijft over.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet spelen met taal speelt een belangrijke rol in het werk van Colson. De kunstenaar zaagt de oorspronkelijke zin uiteen en stelt deze weer samen als een nieuwe tekst: \u0026ldquo;Dada men r ginsweet.\u0026rdquo; Door op verschillende plaatsen haken aan te brengen wordt \u003cem\u003eOld Town Canoe\u003c/em\u003e een accumulatiewerk. De toevoeging van een boek over het dada\u0026iuml;sme maakt het werk associatief. Maar ook bezoekers kunnen \u003cem\u003eOld Town Canoe\u003c/em\u003e activeren door er objecten aan te bevestigen of de betonblokken als zitplaats te gebruiken.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003ePour Vaast Colson, une \u0026oelig;uvre d\u0026rsquo;art n\u0026rsquo;est pas un produit fini, mais une partie de sa pratique qui peut changer de forme et peut \u0026ecirc;tre r\u0026eacute;activ\u0026eacute;e \u0026agrave; diff\u0026eacute;rents moments. Ainsi \u003cem\u003eOld Town Canoe\u003c/em\u003e se trouve dans une troisi\u0026egrave;me phase.\u003c/p\u003e\r\n\r\n\u003cp\u003eTout d\u0026rsquo;abord, le cano\u0026euml; se trouve, en tant que travail de texte, \u0026agrave; c\u0026ocirc;t\u0026eacute; d\u0026#39;un \u0026eacute;tang \u0026agrave; Hoboken au cours de l\u0026#39;exposition en plein air ART-FORT / FORT-ART en 2012. Au fond, on a sci\u0026eacute; le texte \u0026laquo;\u0026nbsp;Ginds weet met raad\u0026nbsp;\u0026raquo; (L\u0026agrave;-bas on sait quoi faire). Ce message d\u0026#39;espoir porte en m\u0026ecirc;me temps atteinte la fonction principale du cano\u0026euml;: naviguer. Dans une deuxi\u0026egrave;me phase, \u003cem\u003eOld Town Canoe\u003c/em\u003e obtient plus le caract\u0026egrave;re permanent d\u0026#39;une sculpture. Un cano\u0026euml; peut, apr\u0026egrave;s tout, non seulement servir de bateau, mais aussi de moule creux. Seul un moulage de b\u0026eacute;ton reste.\u003c/p\u003e\r\n\r\n\u003cp\u003eJouer avec la langue joue un r\u0026ocirc;le important dans l\u0026rsquo;\u0026oelig;uvre de Colson. L\u0026#39;artiste scie la phrase originale et la rassemble \u0026agrave; nouveau comme un nouveau texte \u0026laquo; Dada men r ginsweet\u0026nbsp;\u0026raquo;. En mettant des crochets \u0026agrave; de divers endroits \u003cem\u003eOld Town Canoe\u003c/em\u003e devient une \u0026oelig;uvre d\u0026rsquo;accumulation. L\u0026#39;ajout d\u0026#39;un livre sur le dada\u0026iuml;sme rend le travail associatif. Mais les visiteurs peuvent aussi activer \u003cem\u003eOld To\u003c/em\u003e\u003cem\u003ewn Canoe\u003c/em\u003e en y attachant des objets ou en utilisant les blocs en b\u0026eacute;ton en tant que si\u0026egrave;ge.\u003c/p\u003e\r\n"}]},{"id":13636,"title":"Refund Painting Series","dimensions":"variable dimensions","date_begin":"2015-01-01","material":"aluminium tape, coins","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Still some cream on the screen Vaast Colson Show me yours \u0026 I'll show you mine","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK007955","stream_count_app":13,"permalink":"refund-painting-series","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eVaast Colson (\u0026deg;1977, Kapellen) schrikt niet terug voor de grote vraag naar de plaats en rol van de kunstenaar in de samenleving. Het werk van Colson is schaamteloos subjectief en neigt vaak naar het absurde. Tegelijk bevraagt hij voortdurend de relatie met het publiek en de al dan niet authentieke mystiek van het kunstenaarsbestaan.\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":null,"cached_actor_names":"Vaast Colson","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/000/030/826/large/IMG_7062.JPG?1455615713","poster_credits":"Courtesy: Vansteensel \u0026 De Caigny Gallery","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13976,"title":"Show me yours \u0026 I'll show you mine - Vaast Colson (Still some cream on the screen) \u0026 Kati Heck (Holy Hauruck)","dimensions":"26.4 x 20.1 cm, language : English, Dutch, publisher : Museum van Hedendaagse Kunst, Antwerpen, ISBN : 9789072828545","date_begin":"2016-01-01","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":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2027/938","stream_count_app":9,"permalink":"show-me-yours-i-ll-show-you-mine-vaast-colson-still-some-cream-on-the-screen-kati-heck-holy-hauruck","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/000/032/055/large/DSC_7670.jpg?1464265190","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eEditor : Liliane Dewachter, Curator M HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Bart De Baere (Director M HKA), Makeal Flammini, Radmila Iva Jankovic.\u003c/p\u003e\r\n\r\n\u003cp\u003eInterview with Kati Heck.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eAvailable at the M HKA-bookshop.\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEditor : Liliane Dewachter, Curator M HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Bart De Baere (Director M HKA), Makeal Flammini, Radmila Iva Jankovic.\u003c/p\u003e\r\n\r\n\u003cp\u003eInterview with Kati Heck.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eVerkrijgbaar in de M HKA-bookshop.\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEditor : Liliane Dewachter, Curator M HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Bart De Baere (Director M HKA), Makeal Flammini, Radmila Iva Jankovic.\u003c/p\u003e\r\n\r\n\u003cp\u003eInterview with Kati Heck.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eDisponible dans le M HKA-bookshop.\u0026nbsp;\u003c/strong\u003e\u003c/p\u003e\r\n"}]},{"id":15710,"title":"Vaast Colson - Helena (Part I) [video]","dimensions":"00:06:00","date_begin":"2004-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Hans Theys Archive / Archief Hans Theys","cached_tag_list":"clip","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":21,"permalink":"vaast-colson-helena-part-i","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/000/037/355/medium_500/Schermafbeelding_2017-10-09_om_11.16.50.png?1507540643","cached_actor_names":"Hans Theys, Vaast Colson","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/000/037/355/large/Schermafbeelding_2017-10-09_om_11.16.50.png?1507540643","poster_credits":"(c)videostill: Hans Theys, 2004","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify;\"\u003eVaast colson during the preparation of the show 'The Paintings Martin Couldn't paint anymore', which resulted in 'The Helena Sculpture', now part of the collection of M HKA.\u003c/p\u003e\u003cp\u003eFilmed by Hans Theys.\u003c/p\u003e"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":19901,"title":"Wünderkamer","dimensions":"","date_begin":"2013-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"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":13,"permalink":"wunderkamer","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/000/041/427/medium_500/DSC_7624.JPG?1532519378","cached_actor_names":"Vaast Colson","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/427/large/DSC_7624.JPG?1532519378","poster_credits":"image: (c) Luc Vuegen","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eVaast Colson studied applied painting at the Academy of Antwerp, but since his education has hardly made a painting, or at least not in the classic sense of the word. For him, every means and media are suitable to create art, as long as the artist does not get lost in the material. Colson prefers working \u003cem\u003ein-situ, \u003c/em\u003ewhere he allows time and space to surprise and challenge him. In his work he reflects on artistic practices: modelling an identity and roll play intrigue him. With this existential subject, he collaborated with artists at the \u0026ldquo;Kunsthuis Yellow Art (OPZ Geel)\u0026rdquo; a couple of years ago. For \u003cem\u003eMiddle Gate Geel \u0026rsquo;13 \u003c/em\u003ehe created a new piece. The environment of \u0026ldquo;Kunsthuis Yellow Art\u0026rdquo; was again chosen by the artist for the creation of this piece. According to him, he is inspired by the creative drive that can be found in the space of \u0026ldquo;Kunsthuis\u0026rdquo;: there is always a specific ambiance and depth. With his new piece, Vaat Colson, is not looking to tell a story in the narrative sense of the work but he wants to put emphasis on the location. He wants to use to space and fill it with various meanings, so as to move the viewers\u0026rsquo; senses.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eVaast Colson studeerde schilderkunst aan de Antwerpse academie, maar sinds zijn opleiding heeft hij nauwelijks nog schilderijen gemaakt, althans niet in de klassieke betekenis van het woord. Voor hem zijn alle middelen en media geschikt om te cre\u0026euml;ren, zolang de kunstenaar maar niet spoorloos verdwijnt onder dat materiaal. Het liefst werkt Vaast Colson \u003cem\u003ein-situ\u003c/em\u003e, waar ruimte en tijd hem telkens opnieuw kunnen verrassen en uitdagen. In zijn werk reflecteert hij veelal op het kunstenaarschap: het modelleren van een identiteit en het rollenspel is wat hem intrigeert. Met dit existentieel onderwerp ging hij enkele jaren geleden reeds aan de slag, in samenwerking met kunstenaars van het Kunsthuis Yellow Art (OPZ Geel). Voor \u003cem\u003eMiddle Gate Geel \u0026rsquo;13\u003c/em\u003e cre\u0026euml;erde hij nieuw werk. Hij koos opnieuw voor de omgeving van het Kunsthuis Yellow Art. Hij wordt, naar eigen zeggen, enorm ge\u0026iuml;nspireerd door de creatieve drive die heerst in het Kunsthuis: er is steevast een specifieke concentratie en een diepgang. Vaast Colson wil met dit nieuwe werk niet zozeer een verhaal vertellen in narratieve zin, maar wel een plek benadrukken. Die plek wil hij opladen met verscheidene betekenissen die ons als bezoeker zintuiglijk ontroeren.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":20213,"title":"Lucky Laugh","dimensions":"150 x 100 cm","date_begin":"2016-01-01","material":"mixed media; photo on cardboard, hand towel, felt tulip","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Pinkie Bowtie, Antwerp","cached_tag_list":"ERCOLA","publishing_process_id":1,"annotation":"\u003cp\u003ePhoto sur carton 1,50 m X 1 m d\u0026rsquo;apr\u0026egrave;s un d\u0026eacute;tail de Brueghel + essuie-main + tulipe en feutre. Chaque \u0026eacute;dition est assortie d\u0026rsquo;un certificat qui consiste en un polaroid t\u0026eacute;moignant de l\u0026#39;action de l\u0026rsquo;artiste qui pour chaque \u0026eacute;dition couvre ses yeux \u0026agrave; l\u0026rsquo;aide du tissus et tente de placer la tulipe en feutre au bon endroit.\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition tir\u0026eacute;e \u0026agrave; 25 exemplaires + 5 EA sign\u0026eacute;s et num\u0026eacute;rot\u0026eacute;s\u003c/p\u003e\r\n\r\n\u003cp\u003ePhoto on cardboard 1.50 m X 1 m from a detail of Brueghel + hand towel + felt tulip. Each edition is accompanied by a certificate that consists of a polaroid reflecting the action of the artist who for each edition covers his eyes with the fabric and tries to place the tulip felt in the right place.\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition printed in 25 copies + 5 EA signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eFoto op karton 1,50 m X 1 m vanaf een detail van Brueghel + handdoek + vilt-tulp. Elke editie wordt vergezeld door een certificaat dat bestaat uit een polaroid die de actie van de kunstenaar weergeeft die voor elke editie zijn ogen bedekt met de stof en probeert de tulp op de juiste plaats te plaatsen.\u003c/p\u003e\r\n\r\n\u003cp\u003eOplage gedrukt in 25 exemplaren + 5 ondertekend en genummerd door EA\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":8,"permalink":"lucky-laugh","description_ru":"","description_de":"\u003cp\u003eAuflage in 25 Exemplaren gedruckt + 5 EA signiert und nummeriert\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/647/medium_500/VC_LL.jpg?1536766042","cached_actor_names":"Vaast Colson","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/647/large/VC_LL.jpg?1536766042","poster_credits":"(c)Pinkie Bowtie, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003eEdition printed in 25 copies + 5 EA signed and numbered\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eOplage; gedrukt in 25 exemplaren + 5 E.A. ondertekend en genummerd\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEdition tir\u0026eacute;e \u0026agrave; 25 exemplaires + 5 EA sign\u0026eacute;s et num\u0026eacute;rot\u0026eacute;s\u003c/p\u003e\r\n"}]},{"id":3817,"title":"Helena Sculpture","dimensions":"3 x (100 x 185 x 212 cm)","date_begin":"2006-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7655","stream_count_app":48,"permalink":"helena-sculpture","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Vaast Colson","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/000/011/430/large/vaastje.jpg?1465913983","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIn 2004 Vaast Colson made 12 portraits of \u003ci\u003eHelena\u003c/i\u003e, the 15-year-old daughter of German artist Martin Kippenberger, one of his most important examples. He calls the series \u003ci\u003eHelena: The Paintings Martin Couldn't Paint Anymore\u003c/i\u003e. At the time, Kippenberger had already been dead for seven years. Colson is referring here to Kippenberger's series \u003ci\u003eJaqueline: The Paintings Pablo Couldn't Paint Anymore\u003c/i\u003e, which Kippenberger produced in 1996 as a tribute to Pablo Picasso, whose wife was called Jaqueline. Colson's series is a tribute and at the same time an attempt to come a little closer to his example with a greater understanding of Kippenberger's working methods, technique and use of materials. Since 2006, the series of portraits is stored in \u003ci\u003eHelena Sculpture\u003c/i\u003e, an installation that serves as a vault for an artistic treasure, or as a reliquary for the artistic pilgrim. Only once a year the safe can be opened: on 24 August, Helena's birthday.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eIn 2004 maakt Vaast Colson 12 portretten van Helena, de 15-jarige dochter van Duits kunstenaar Martin Kippenberger, één van zijn belangrijkste voorbeelden. Hij noemt de reeks \u003ci\u003eHelena: The Paintings Martin Couldn’t Paint Anymore\u003c/i\u003e. Op dat moment was Kippenberger al zeven jaar overleden. Colson verwijst hiermee naar Kippenberger’s reeks \u003ci\u003eJaqueline: The Paintings Pablo Couldn’t Paint Anymore\u003c/i\u003e, die Kippenberger in 1996 vervaardigde als eerbetoon aan Pablo Picasso, wiens vrouw Jaqueline heette. Ook de reeks van Colson is een eerbetoon, maar niet alleen dat: het is een poging om met meer inzicht over Kippenbergers’ werkwijze, techniek en materiaalgebruik iets dichterbij het nalatenschap van zijn voorbeeld te komen. Sinds 2006 wordt de reeks portretten bewaard in\u0026nbsp;\u003ci\u003eHelena Sculptuur\u003c/i\u003e, een installatie die dient als kluis voor een artistieke schat, of als een reliekschrijn voor de kunstzinnige pelgrim. Slechts één keer per jaar mag de kist worden geopend: op 24 augustus, de verjaardag van Helena.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eEn 2004, Vaast Colson a réalisé 12 portraits d'Helena, la fille de 15 ans de l'artiste allemand Martin Kippenberger, l'un de ses plus importants exemples. Il appelle cette série \u003ci\u003eHelena : The Paintings Martin Couldn't Paint Anymore\u003c/i\u003e. À l'époque, Kippenberger était déjà mort depuis sept ans. Colson fait ici référence à la série de Kippenberger \u003ci\u003eJaqueline : The Paintings Pablo Couldn't Paint Anymore\u003c/i\u003e, que Kippenberger a produite en 1996 en hommage à Pablo Picasso, dont la femme s'appelait Jaqueline. La série de Colson est également un hommage, mais pas seulement : il s'agissait d'une tentative de se rapprocher un peu plus de l'héritage de son exemple en comprenant mieux les méthodes de travail, la technique et l'utilisation des matériaux de Kippenberger. Depuis 2006, la série de portraits est conservée dans \u003ci\u003eHelena Sculpture\u003c/i\u003e, une installation qui sert de coffre-fort pour un trésor artistique ou de reliquaire pour le pèlerin artistique. Le cercueil ne peut être ouvert qu'une fois par an : le 24 août, jour de l'anniversaire d'Helena.\u003c/p\u003e"}]},{"id":3815,"title":"You used to be part of something","dimensions":"","date_begin":"2005-01-01","material":"wood, foam","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"edition multiple","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7610_M381","stream_count_app":33,"permalink":"you-used-to-be-part-of-something","description_ru":"","description_de":"\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003eYou Used To Be\u0026nbsp;Part of Something\u003c/i\u003e\u0026nbsp;(2005) ist der Name einer Skulptur in der M HKA Sammlung, die aus einem Kuchen in rosa Plastik besteht und ist theatralisch auf einer Holzkiste angezeigt. Diese Ausgabe ist eines der zwölf Vielfachen, die ein organisches Ganzes bilden könnten (\"etwas\"), aber nie wieder vereint werden kann - eine ironische Anspielung auf die allgegenwärtige Rhetorik von Kuchen Torte und sozialer Zusammenhalt.\u003c/p\u003e","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Vaast Colson","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/000/011/425/large/Colson__0003_Vaast__You_used_to_be_part_of_Something__2005.JPG?1343208309","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003eYou Used To Be Part Of Something\u003c/i\u003e\u0026nbsp;(2005): a giant pink slice of styrofoam pie mounted on top of the wooden crate in which it travels, this sculpture is in fact part of a whole set of twelve pieces (multiples) scattered across the globe – a totality (“something”) that, in all likelihood, is never going to be regained. The work also operates as a cheerful jibe at the omnipresent aesthetic of the pie diagram as a (necessarily impoverished) symbol of societal cohesion.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003eYou Used To Be\u0026nbsp;Part of Something\u003c/i\u003e\u0026nbsp;(2005) is de naam van een sculptuur in de M HKA-collectie die uit een taartpunt in roze kunststof bestaat, en theatraal bovenop een houten transportkist staat uitgestald. Deze editie is één van de twaalf multiples die samen een organisch geheel zouden kunnen vormen (“something”), maar wellicht nooit meer met elkaar verenigd zullen worden – een ironische allusie op de alomtegenwoordige retoriek van het taartdiagram en maatschappelijke samenhang.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003eYou Used To Be\u0026nbsp;Part of Something\u003c/i\u003e\u0026nbsp;(2005) est le nom d'une sculpture de la collection\u0026nbsp;du M HKA, qui se compose d'un gâteau en plastique rose, et est présentée de façon théâtrale sur une boîte en bois. Cette édition est l'un des douze multiples qui pourraient former un ensemble organique («quelque chose»), mais ne peuvent jamais être unis - une allusion ironique à la rhétorique omniprésente de la tarte et de la cohésion sociale.\u003c/p\u003e"}]}]