{"id":17577,"title":"Thanatophanies","dimensions":"30 x (43 x 33 cm)","date_begin":"1955-01-01","material":"etchings on woven paper","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"barok","publishing_process_id":1,"annotation":"","date_end":"1995-01-01","reference":"BK009083","stream_count_app":20,"permalink":"thanatophanies","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/430/medium_500/2018_Sanguine__photo_M_HKA_c_c_12.jpg?1527499550","cached_actor_names":"On Kawara","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":"Print","nl":"Prent","fr":"Epreuve"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/038/430/large/2018_Sanguine__photo_M_HKA_c_c_12.jpg?1527499550","poster_credits":"Studio Luc Tuymans, image: (c) M HKA","translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eWith the \u003cem\u003eDeath Masks\u003c/em\u003e, On Kawara already looked death in the eye at a young age. \u0026nbsp;Later \u0026ndash; with the United States as his home base \u0026ndash; the horrible images from his childhood seem to have prompted him to spread the message \u0026lsquo;I am still alive\u0026rsquo; every day, as a sign of life force.\u0026nbsp; \u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eEventually it was not until the mid-nineties that the \u003cem\u003eDeath Masks\u003c/em\u003e were published under the title \u003cem\u003eThanatophanies\u003c/em\u003e. The images refer not only to the horror as such, but also to the genetic apocalypse that resulted: physical malformations and hereditary deviations. The series of lithographs is shown within the context of the Baroque because, according to the curator, they express the same urgency and the same reaction to violence, and reveal the universal and consistent manner in which this information repeatedly presents itself.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eText: Hans Willemse\u003cbr /\u003e\r\nTranslations: Michael Meert\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eMet de \u003cem\u003eDeath Masks\u003c/em\u003e heeft On Kawara al op jonge leeftijd de dood in de ogen gekeken. De gruwelbeelden uit zijn jeugd lijken hem ertoe aangezet te hebben om later \u0026ndash; en met de Verenigde Staten als thuisbasis \u0026ndash; dagelijks een \u003cem\u003e\u0026lsquo;\u003c/em\u003e\u003cem\u003eI am still alive\u0026rsquo;\u003c/em\u003e uit te zenden als blijk van levenskracht.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eUiteindelijk heeft het tot halfweg de jaren negentig geduurd vooraleer de \u003cem\u003eDeath Masks\u003c/em\u003e gepubliceerd werden onder de titel \u003cem\u003eThanatophanies\u003c/em\u003e. De beelden refereren niet alleen aan de gruwel als dusdanig, maar ook aan de genetische apocalyps die eruit voortvloeide: lichamelijke misvormingen en overdrachtelijke afwijkingen. De reeks litho\u0026rsquo;s wordt getoond binnen het blikveld van de barok omdat ze volgens de curator eenzelfde urgentie uitspreken, eenzelfde reactie op geweld, waaruit blijkt hoe universeel en unaniem dit gegeven zich telkens opnieuw aandient.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eTekst: Hans Willemse\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eAvec \u003cem\u003eDeath Masks\u003c/em\u003e, le jeune On Kawara a d\u0026eacute;j\u0026agrave; fait face \u0026agrave; la mort. Les images d\u0026rsquo;horreur de son adolescence paraissent l\u0026rsquo;avoir incit\u0026eacute; \u0026agrave; envoyer par la suite \u0026ndash; depuis les \u0026Eacute;tats-Unis devenus son port d\u0026rsquo;attache \u0026ndash; le message quotidien \u003cem\u003eI am still alive\u003c/em\u003e comme manifestation de force de vie.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFinalement, il aura fallu attendre le milieu des ann\u0026eacute;es\u0026nbsp;90 pour que les \u003cem\u003eDeath Masks\u003c/em\u003e soient enfin publi\u0026eacute;s sous le titre \u003cem\u003eThanatophanies\u003c/em\u003e. Les images ne font pas uniquement r\u0026eacute;f\u0026eacute;rence \u0026agrave; l\u0026rsquo;horreur en tant que telle, mais aussi \u0026agrave; l\u0026rsquo;apocalypse g\u0026eacute;n\u0026eacute;tique qui en a d\u0026eacute;coul\u0026eacute;. La s\u0026eacute;rie de lithographies est montr\u0026eacute;e dans le champ de vision du baroque parce que selon le commissaire de l\u0026rsquo;exposition, ces \u0026oelig;uvres pr\u0026eacute;sentent une m\u0026ecirc;me urgence, une m\u0026ecirc;me r\u0026eacute;action \u0026agrave; la violence qui r\u0026eacute;v\u0026egrave;le \u0026agrave; quel point cette donn\u0026eacute;e se pr\u0026eacute;sente chaque fois \u0026agrave; nouveau de mani\u0026egrave;re universelle et unanime.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eTexte: Hans Willemse\u003cbr /\u003e\r\nTraductions: Isabelle Grynberg\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":340,"name":"On Kawara","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}