{"id":12357,"title":"Untitled, Documenta IX","dimensions":"size of the room","date_begin":"1992-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"wall-drawing with pigment test tubes with pigment and tobacco feathers carved wood Venetian blinds duvet cloth chicken legs sheets of glass pillows ventilator rope","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7836_M530","stream_count_app":39,"permalink":"untitled-documenta-ix","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Ricardo Brey","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"category":{"en":"Mixed Media","nl":"Mixed Media","fr":"Mixed Media"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/026/851/large/2015_Ricardo_Brey_photoM_HKAclinckx.jpg?1423142898","poster_credits":"(c) M HKA","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eRepositioned for the first time since 1992\u0026nbsp;for \u003c/strong\u003e\u003ci\u003e\u003cstrong\u003eRicardo Brey: Fuel to the Fire\u003c/strong\u003e\u003c/i\u003e\u003cstrong\u003e, M HKA 2015.\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eFollowing an invitation\u0026nbsp;in\u0026nbsp;1991\u0026nbsp;to take part in the Documenta IX in Kassel, Ricardo Brey moved to Ghent. This change of location will have a strong influence on his later work.\u003c/p\u003e\u003cp\u003eBrey has reactivated the installation Untitled, which he made in Kassel 23 years ago, for the exhibition Ricardo Brey Fuel to the fire. By doing this the exhibition departs from a historical reference to the work of the artist.\u003c/p\u003e\u003cp\u003e\u003ci\u003e\"Brey's work was absolutely stunning. His material was old Venetian blinds, mattresses, panes of glass and two chicken feet. An old electric fan. It was not theatrical, and it was not like painting that one entered into. It was simple and extremely complex.\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eRecurringly, he uses sepia tones to denote our fascination with aged records. In this piece, not only the cotton cloth and matresses, but also the walls were tinted with a disturbin organic brown. Was it drid blood? No, he shook up bottles of Coca Cola and used them as spray paint. Cuba Libre. Like most of his work, the piece did not make sense; that is, there was not a clear narrative. No text was illustrated.\"\u003c/i\u003e\u003c/p\u003e\u003cp\u003e(source: Durham, Jimmie.\u0026nbsp;Qué le Importa al Tigre una Raya Más: The Futility of Good Intentions. 2014, p. 30)\u003c/p\u003e"},{"locale":"nl","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eHerpositioneerd voor de eerste keer sinds 1992 voor \u003c/strong\u003e\u003ci\u003e\u003cstrong\u003eRicardo Brey: Op de Bodem van de Hemel\u003c/strong\u003e\u003c/i\u003e\u003cstrong\u003e, M HKA 2015.\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eNaar aanleiding van een uitnodiging om in 1992 deel te nemen aan Documenta IX, verhuist Ricardo Brey in 1991 naar Gent. Deze verandering van locatie zal uiteraard een sterke invloed hebben op later werk.\u003c/p\u003e\u003cp\u003eBrey reactiveerde voor \u003ci\u003eRicardo Brey: Op de bodem van de hemel\u003c/i\u003e de installatie \u003ci\u003eUntitled\u003c/i\u003e die hij 23 jaar geleden in Kassel maakte. Op deze manier vertrekt de tentoonstelling vanuit een historische referentie aan het oeuvre van de kunstenaar.\u003c/p\u003e\u003cp\u003e\u003ci\u003e“Zijn werk was absoluut schitterend. Zijn materiaal bestond uit oude jaloezieën, matrassen, glazen ruiten en twee kippenpoten. Een oude elektrische ventilator. Het was niet theatraal, en het was alsof men een schilderij binnenstapte. Het was eenvoudig en uiterst complex.\u0026nbsp;\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003ci\u003eHij gebruikt vaak sepiatonen als verwijzing naar onze fascinatie voor oudere documenten. In dit werk waren niet alleen het katoenen doek en de matrassen, maar ook de muren gekleurd in een verontrustend organisch bruin. Was het opgedroogd bloed? Nee, hij schudde flessen Coca-Cola en gebruikte ze als spuitverf. Cuba Libre. Zoals de meeste van zijn werken leek dit werk helemaal niet duidelijk; dat wil zeggen, er was geen duidelijk verhaal. Geen enkele tekst was geïllustreerd.”\u003c/i\u003e\u003c/p\u003e\u003cp\u003e(bron: Durham, Jimmie.\u0026nbsp;\u003ci\u003eQué le Importa al Tigre una Raya Más: The Futility of Good Intentions\u003c/i\u003e. 2014, p. 30)\u003c/p\u003e"},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":608,"name":"Ricardo Brey","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}