{"id":12590,"title":"Art as a Gamble, Gamble as an Art","dimensions":"00:50:00","date_begin":"1981-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"48, actie, Jan Fabre, action","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":29,"permalink":"art-as-a-gamble-gamble-as-an-art","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,"category":{"en":"Performance","nl":"Performance","fr":"Performance"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/027/545/large/fabre_au003514.jpg?1426242303","poster_credits":"(c)Angelos bvba, Collection M HKA, photo: Patrick Sellitto","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003e\u003cstrong\u003e16.3.1981\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e​New York, School of Visual Arts\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eHere Fabre touches upon the subject of the relationship between artist and art critic. He makes a number of critics adhere to the rules of the game and then conducts them while they read their critiques. Then the artist and critics play games of chance.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The practical preparations for my performance\u003cbr /\u003e\u0026#39;Art as a Gamble, Gamble as an Art\u0026#39;, which I\u0026#39;m going\u003cbr /\u003eto do at the School of Visual Arts, are not going\u003cbr /\u003esmoothly, but it is satisfying as an artistic journey.\u003cbr /\u003eI see images, I see actions.\u003cbr /\u003eNow I still want to put it into words.\u003cbr /\u003eWhy do it like this and not otherwise?\u003cbr /\u003eInstinct.\u003cbr /\u003eThe image comes before knowledge.\u003cbr /\u003eAnd language after that?\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 13 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Timothy Binkley gave me a no. 314 to calm\u003cbr /\u003emy nerves.\u003cbr /\u003eI\u0026#39;m going up the wall.\u003cbr /\u003eI\u0026#39;m over-exalted about tomorrow.\u003cbr /\u003eFear of failure?\u003cbr /\u003eA true performance can never fail.\u003cbr /\u003eI wish a second Jan Fabre existed.\u003cbr /\u003eI would sacrifice him with a flint axe.\u003cbr /\u003eCut him open lengthwise.\u003cbr /\u003eTake out his heart, his liver, his kidneys, his spleen,\u003cbr /\u003ehis stomach and then his intestines and drape them\u003cbr /\u003eround me like jewellery.\u003cbr /\u003eCut him into pieces and slowly let the pieces\u003cbr /\u003eof Jan Fabre flesh cook and crispen over a fire so\u003cbr /\u003eI can eat him with great relish.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 15 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;My performance of \u0026#39;Art as a Gamble, Gamble\u003cbr /\u003eas an Art\u0026#39; was sterile.\u003cbr /\u003eIt was too carefully planned and too conceptual.\u003cbr /\u003eThe critics who had to gamble agains me\u003cbr /\u003ebehaved like shy, bad actors.\u003cbr /\u003eWhen I conducted them while they read out\u003cbr /\u003ewhat they had written, they refused to follow\u003cbr /\u003emy musical lead. They were too concerned\u003cbr /\u003ewith their own ego, which was in the spotlight.\u003cbr /\u003eThere was no action, no reaction.\u003cbr /\u003eWhile I was in action I had the feeling I was creating\u003cbr /\u003ean installation with dead extras.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The applause was respectable.\u003cbr /\u003eThe reactions afterwards were good.\u003cbr /\u003eThere was someone who said: \u0026#39;Intellectually\u003cbr /\u003eit was very dense and rich.\u0026#39;\u003cbr /\u003eWhat rubbish.\u003cbr /\u003eMy aim was the exact opposite.\u003cbr /\u003eI wanted to cause a physical sensation in the audience.\u003cbr /\u003eI wanted to make their bodies think,\u003cbr /\u003enot make their intellect feel.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 17 March 1981)\u003c/strong\u003e\u003c/p\u003e"},{"locale":"nl","short_description":"","description":"\u003cp\u003e\u003cstrong\u003e16.3.1981\u003cbr /\u003e​New York, School of Visual Arts\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eHier kaart Fabre de relatie tussen de kunstenaar en kunstcritici aan. Jan Fabre onderwerpt een aantal critici aan spelregels en dirigeert hen terwijl zij hun kritiek lezen. Vervolgens speelt de kunstenaar kansspelen met hen.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The practical preparations for my performance\u003cbr /\u003e\u0026#39;Art as a Gamble, Gamble as an Art\u0026#39;, which I\u0026#39;m going\u003cbr /\u003eto do at the School of Visual Arts, are not going\u003cbr /\u003esmoothly, but it is satisfying as an artistic journey.\u003cbr /\u003eI see images, I see actions.\u003cbr /\u003eNow I still want to put it into words.\u003cbr /\u003eWhy do it like this and not otherwise?\u003cbr /\u003eInstinct.\u003cbr /\u003eThe image comes before knowledge.\u003cbr /\u003eAnd language after that?\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 13 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Timothy Binkley gave me a no. 314 to calm\u003cbr /\u003emy nerves.\u003cbr /\u003eI\u0026#39;m going up the wall.\u003cbr /\u003eI\u0026#39;m over-exalted about tomorrow.\u003cbr /\u003eFear of failure?\u003cbr /\u003eA true performance can never fail.\u003cbr /\u003eI wish a second Jan Fabre existed.\u003cbr /\u003eI would sacrifice him with a flint axe.\u003cbr /\u003eCut him open lengthwise.\u003cbr /\u003eTake out his heart, his liver, his kidneys, his spleen,\u003cbr /\u003ehis stomach and then his intestines and drape them\u003cbr /\u003eround me like jewellery.\u003cbr /\u003eCut him into pieces and slowly let the pieces\u003cbr /\u003eof Jan Fabre flesh cook and crispen over a fire so\u003cbr /\u003eI can eat him with great relish.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 15 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;My performance of \u0026#39;Art as a Gamble, Gamble\u003cbr /\u003eas an Art\u0026#39; was sterile.\u003cbr /\u003eIt was too carefully planned and too conceptual.\u003cbr /\u003eThe critics who had to gamble agains me\u003cbr /\u003ebehaved like shy, bad actors.\u003cbr /\u003eWhen I conducted them while they read out\u003cbr /\u003ewhat they had written, they refused to follow\u003cbr /\u003emy musical lead. They were too concerned\u003cbr /\u003ewith their own ego, which was in the spotlight.\u003cbr /\u003eThere was no action, no reaction.\u003cbr /\u003eWhile I was in action I had the feeling I was creating\u003cbr /\u003ean installation with dead extras.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The applause was respectable.\u003cbr /\u003eThe reactions afterwards were good.\u003cbr /\u003eThere was someone who said: \u0026#39;Intellectually\u003cbr /\u003eit was very dense and rich.\u0026#39;\u003cbr /\u003eWhat rubbish.\u003cbr /\u003eMy aim was the exact opposite.\u003cbr /\u003eI wanted to cause a physical sensation in the audience.\u003cbr /\u003eI wanted to make their bodies think,\u003cbr /\u003enot make their intellect feel.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 17 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","short_description":"","description":"\u003cp\u003e\u003cstrong\u003e16.3.1981\u003cbr /\u003e​New York, School of Visual Arts\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The practical preparations for my performance\u003cbr /\u003e\u0026#39;Art as a Gamble, Gamble as an Art\u0026#39;, which I\u0026#39;m going\u003cbr /\u003eto do at the School of Visual Arts, are not going\u003cbr /\u003esmoothly, but it is satisfying as an artistic journey.\u003cbr /\u003eI see images, I see actions.\u003cbr /\u003eNow I still want to put it into words.\u003cbr /\u003eWhy do it like this and not otherwise?\u003cbr /\u003eInstinct.\u003cbr /\u003eThe image comes before knowledge.\u003cbr /\u003eAnd language after that?\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 13 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;Timothy Binkley gave me a no. 314 to calm\u003cbr /\u003emy nerves.\u003cbr /\u003eI\u0026#39;m going up the wall.\u003cbr /\u003eI\u0026#39;m over-exalted about tomorrow.\u003cbr /\u003eFear of failure?\u003cbr /\u003eA true performance can never fail.\u003cbr /\u003eI wish a second Jan Fabre existed.\u003cbr /\u003eI would sacrifice him with a flint axe.\u003cbr /\u003eCut him open lengthwise.\u003cbr /\u003eTake out his heart, his liver, his kidneys, his spleen,\u003cbr /\u003ehis stomach and then his intestines and drape them\u003cbr /\u003eround me like jewellery.\u003cbr /\u003eCut him into pieces and slowly let the pieces\u003cbr /\u003eof Jan Fabre flesh cook and crispen over a fire so\u003cbr /\u003eI can eat him with great relish.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 15 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;My performance of \u0026#39;Art as a Gamble, Gamble\u003cbr /\u003eas an Art\u0026#39; was sterile.\u003cbr /\u003eIt was too carefully planned and too conceptual.\u003cbr /\u003eThe critics who had to gamble agains me\u003cbr /\u003ebehaved like shy, bad actors.\u003cbr /\u003eWhen I conducted them while they read out\u003cbr /\u003ewhat they had written, they refused to follow\u003cbr /\u003emy musical lead. They were too concerned\u003cbr /\u003ewith their own ego, which was in the spotlight.\u003cbr /\u003eThere was no action, no reaction.\u003cbr /\u003eWhile I was in action I had the feeling I was creating\u003cbr /\u003ean installation with dead extras.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026#39;The applause was respectable.\u003cbr /\u003eThe reactions afterwards were good.\u003cbr /\u003eThere was someone who said: \u0026#39;Intellectually\u003cbr /\u003eit was very dense and rich.\u0026#39;\u003cbr /\u003eWhat rubbish.\u003cbr /\u003eMy aim was the exact opposite.\u003cbr /\u003eI wanted to cause a physical sensation in the audience.\u003cbr /\u003eI wanted to make their bodies think,\u003cbr /\u003enot make their intellect feel.\u0026#39;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e(Jan Fabre, New York, 17 March 1981)\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":110,"name":"Jan Fabre","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}