{"id":6209,"title":"Niet nuttig voorwerp [Useless object]","dimensions":"41 x 38 x 8.5 cm","date_begin":"1962-01-01","material":"kaolin, chair seat","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist, reconstruction M HKA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2012-01-01","reference":"","stream_count_app":9,"permalink":"niet-nuttig-voorwerp-useless-object","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":"Object","nl":"Object","fr":"Objet"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/305/large/M_De_clercq__photoM_HKAclinckx.JPG?1353079795","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","short_description":"","description":"The East-Flanders native Maurice De Clercq (b. 1918) first paints informal works – forms such as root structures and oil spots – and then switches at the end of the Fifties to produce gray, monochrome matière painting.  The next change in his work – illustrated by useless object – may be explained via his friendship with Manzoni.  The latter’s brutal irony helped De Clercq free himself from the spiritualism that had so taken a whole generation of artists and critics.  For his *useless object*, he disassembles an unremarkable chair with woven seat and transforms its rustic brown and natural materials, using the same technique as Manzoni employs for his 'achromatics'. A layer of porcelain clay dissolves everything in radical white.  A symbol par excellence of the tame, everyday Flanders was definitively desecrated."},{"locale":"nl","short_description":"","description":"De Oost-Vlaming Maurice De Clercq (°1918) schildert eerst informeel – vormen als wortelstructuren of olievlekken – en schakelt einde jaren vijftig over naar grijze, monochrome matièreschilderijen. De ommekeer in zijn werk – geïllustreerd door niet nuttig voorwerp – is te verklaren door zijn vriendschap met Manzoni. De brutale ironie van Manzoni heeft De Clercq geholpen om zich te bevrijden van het spiritualisme dat een hele generatie van kunstenaars en critici in zijn ban heeft gehouden. Voor zijn *niet nuttig voorwerp* demonteert hij een banale stoel met gevlochten zitting en bewerkt het rustieke bruin en de natuurlijke materialen met dezelfde techniek waarmee Manzoni zijn 'achromes' maakt. Een laag porseleinaarde lost alles op in radicaal wit. Een symbool bij uitstek van het brave, dagelijkse Vlaanderen was definitief ontheiligd.\r\n"},{"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":1973,"name":"Maurice De Clercq","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}