[{"id":150,"title":"Raum (Nein, Nicht, Nur) [Space]","dimensions":"variable dimensions","date_begin":"1979-01-01","material":"brown tape","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0306","stream_count_app":69,"permalink":"raum-space","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":"Bernd Lohaus","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/000/000/274/large/Lohaus,%200012%20Bernd,%20Raum,%201979%20foto%20Bram%20Goots.jpg?1299510010","poster_credits":"(c)image: M HKA, Bram Goots","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026lsquo;poetry of the sparse\u0026rsquo; / \u0026lsquo;Raum\u0026rsquo;\u003c/em\u003e is the brown tape-installation in which Bernd Lohaus gave a literal view on physical distance. Through strong materiality and the combination with the (possibility of) language, Bernd Lohaus creates a physically experienced space which, as a participant of the work, you can\u0026rsquo;t encounter. In the tradition of the anthroposophists this work reveals an real atmosphere instead of a mythical universe. This typical (Belgian/European?) relation between artist and public contradicts to the American tradition, where the artist creates in function of \u0026lsquo;the (abstract) viewer\u0026rsquo; or \u0026lsquo;the collector\u0026rsquo;.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe installatie \u0026lsquo;\u003cem\u003eRaum\u003c/em\u003e\u0026rsquo; van Bernd Lohaus bestaat uit een ruimte die ontoegankelijk is gemaakt: ze wordt afgesloten door horizontale repen bruine papiertape. Tussen de verschillende repen is er telkens een opening zodat je wel in de ruimte kan binnenkijken. In de ruimte zelf zien we op elke muur een blad papier hangen. Op het eerste vel werden de woorden nein (nee) en in het klein ernaast ich (ik) geschreven, op een ander vel lezen we nur (maar, slechts, alleen) en op het laatste nicht (niet). De woorden zijn in kleine letters geschreven, behalve \u0026lsquo;nicht\u0026rsquo;, dat staat in drukletters. De vormgeving en het materiaal van dit werk zijn zeer eenvoudig. Deze soberheid vinden we terug in heel het oeuvre van Lohaus. Ook de combinatie van beeld en taal is een rode draad doorheen zijn werk. De installatie geeft de kijker een gevoel van gevangenschap, van opgesloten zitten, hoewel hij zich zelf buiten de afgesloten ruimte bevindt. Deze sfeer wordt opgeroepen door het tralie-effect van de repen tape, maar ook de woorden op de vellen papier dragen daartoe bij. Het zijn woorden die te maken hebben met ontkenning, \u0026lsquo;negatieve\u0026rsquo; woorden zou je kunnen zeggen. Opgesloten zijn is ook niet (kunnen) communiceren, ge\u0026iuml;soleerd zijn. En dit niet of moeilijk communiceren is een thema dat steeds terugkeert in het werk van Lohaus. Iemand kan opgesloten zitten in zichzelf, maar er kan ook een barri\u0026egrave;re tussen twee personen zitten waardoor ze niet kunnen communiceren en er is de soms moeilijke communicatie tussen een kunstwerk of kunstenaar en de kijker, maar ook tussen de kunstenaar en zijn werk. Door het opgesloten zitten gaat men nadenken, vragen stellen. Het werk heeft iets kwetsbaars over zich, niet alleen door de gebruikte materialen en de opstelling, maar ook door de sfeer, het gevoel dat het oproept.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":9033,"title":"Happening in drie bedrijven, happening in the modern world","dimensions":"","date_begin":"1965-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":155,"platform_id":1,"deleted":false,"asset_count":0,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":22,"permalink":"happening-in-drie-bedrijven-happening-in-the-modern-world","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":" Panamarenko, Dr. Hugo Heyrman, Bernd Lohaus, Wout Vercammen, Jeroen Henneman","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":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e09/10/1965, Groenplaats, Antwerp\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;De bedoeling van deze happenings is mijn inziens het tussenveld tussen de literatuur en het schilderen, en hetgeen dat daar tussenstaat - bijvoorbeeld de absurditeit - door gebaren aan de omstanders diets te maken\u0026quot;\u003c/em\u003e\u0026nbsp;- Bernd Lohaus, in proces-verbaal 9535, politie Antwerpen, 25 september 1965\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e09/10/1965, Groenplaats, Antwerpen Jeroen Henneman zit in een hoge doos en toont over de rand voorwerpen. Lohaus drenkt poppetjes in gips en strooit er dan rode verf over. Geen actie van de politie.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":1547,"title":"Happening 6 ","dimensions":"29 x 18.5 cm","date_begin":"1965-01-01","material":"ink, paper","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":126,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Panamarenkohuis Biekorfstraat","cached_tag_list":"exhibition poster","publishing_process_id":1,"annotation":"\u003cp\u003eAffiche voor een happening ( met Yoshio Nakajima, Wout Vercammen, Panamarenko, Hugo \u0026nbsp;Heyrman, Bernd Lohaus\u003c/p\u003e\r\n\r\n\u003cp\u003een Thomas Jaspers) op 25 september 1965 op de Antwerpse Meir.\u003c/p\u003e\r\n","date_end":null,"reference":"PAN-1348","stream_count_app":27,"permalink":"happening-6","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/000/018/593/medium_500/083.jpg?1376906843","cached_actor_names":" Panamarenko, Wout Vercammen, Dr. Hugo Heyrman, Bernd Lohaus, Yoshio Nakajima","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/000/018/593/large/083.jpg?1376906843","poster_credits":"(c)photo: Wim Van Eesbeek","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12751,"title":"Weert","dimensions":"15 x 375 x 55 cm","date_begin":"1966-01-01","material":"wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Estate Bernd Lohaus","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"ohne-titel-weert","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/000/027/705/large/Untitled036.jpg?1426670324","poster_credits":"(c)photo: R. Van Den Brempt, Courtesy Anny De Decker, Antwerp","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12756,"title":"Ohne Titel 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Courtesy Anny De Decker, Antwerp","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12760,"title":"Ohne Titel (Eupen)","dimensions":"85 x 550 x 1650 cm","date_begin":"1993-01-01","material":"wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private 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Titel (Leuven)","dimensions":"52 x 1712 x 161 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Courtesy Anny De Decker, Antwerp","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":12765,"title":"Ohne Titel (Temse)","dimensions":"100 x 510 x 920 cm","date_begin":"1990-01-01","material":"wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private 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Lohaus","translations":[{"locale":"en","description":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eRAUM geblieben \u0026ndash; bleibst in dem raum, umgeben / nicht gesperrt \u0026ndash; bleibst zwischen deinen schritten / gedanken \u0026ndash; tr\u0026auml;umend \u0026ndash; raum abschreiten : m\u0026ouml;glichkeit zu sich selbst\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e--- zur\u0026uuml;ck \u0026ndash; erinnerungen-teile / geteilt mit / gelassen die spuren aus narben + FURCHEN + schritten / weder staub noch nebel / geschichtet : zwischen + auf / offene fragen nur mit sich selbst\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e[Remained SPACE \u0026ndash; remains in the room, surrounded / obstructed \u0026ndash; remains between your steps / thoughts \u0026ndash; dreaming \u0026ndash; getting space: possibility of himself \u0026hellip;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eBack \u0026ndash; memories \u0026ndash; share / shared with / left traces of scars + FORWARD + steps / neither dust nor mist / layered: between + on / open questions only with itself]\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eRAUM geblieben \u0026ndash; bleibst in dem raum, umgeben / nicht gesperrt \u0026ndash; bleibst zwischen deinen schritten / gedanken \u0026ndash; tr\u0026auml;umend \u0026ndash; raum abschreiten : m\u0026ouml;glichkeit zu sich selbst\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e--- zur\u0026uuml;ck \u0026ndash; erinnerungen-teile / geteilt mit / gelassen die spuren aus narben + FURCHEN + schritten / weder staub noch nebel / geschichtet : zwischen + auf / offene fragen nur mit sich selbst\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e[RUIMTE gebleven \u0026ndash; blijft in de ruimte, omgeven / niet versperd \u0026ndash; blijft tussen uw stappen / gedachten \u0026ndash; dromend \u0026ndash; ruimte afstappen: mogelijkheid tot zichzelf \u0026hellip;\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eTerug \u0026ndash; herinneringen \u0026ndash; delen / gedeeld met / gelaten de sporen van littekens + VOREN + stappen / noch stof noch nevel / gelaagd: tussen + op / open vragen enkel met zichzelf]\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eRAUM geblieben \u0026ndash; bleibst in dem raum, umgeben / nicht gesperrt \u0026ndash; bleibst zwischen deinen schritten / gedanken \u0026ndash; tr\u0026auml;umend \u0026ndash; raum abschreiten : m\u0026ouml;glichkeit zu sich selbst\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e--- zur\u0026uuml;ck \u0026ndash; erinnerungen-teile / geteilt mit / gelassen die spuren aus narben + FURCHEN + schritten / weder staub noch nebel / geschichtet : zwischen + auf / offene fragen nur mit sich selbst\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e--------------------------------------------------------------------\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eESPACE rest\u0026eacute; - reste dans l\u0026#39;espace, entour\u0026eacute; / non barr\u0026eacute; - reste entre tes pas / pens\u0026eacute;es - r\u0026euml;vant - arpenter un espace ; possiblit\u0026eacute; vers soi-m\u0026ecirc;me\u003c/strong\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003e--- retour - souvenirs-fragments / partag\u0026eacute; avec / laiss\u0026eacute;es les traces des cicatrices + SILLONS + pas / ni poussi\u0026egrave;re ni brume / superpos\u0026eacute;es : entre + au-dessus / questions ouvertes seulement avec soi-m\u0026ecirc;me\u003c/strong\u003e\u003c/p\u003e"}]},{"id":12761,"title":"Ohne Titel (Marseille)","dimensions":"80 x 241 x 150 cm","date_begin":"1994-01-01","material":"wood (azobée)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection FNAC, 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Een minimalistische pijl stuwt \u0026ldquo;a cause de moi\u0026rdquo; voort.\u0026nbsp;\u003c/p\u003e\u003cp\u003eWoorden duiden relaties en activiteiten uit het dagelijkse leven aan. Kleine letters die \u0026lsquo;ich hore Anny blockfl\u0026uuml;te spielen\u0026rsquo; fluisteren, staan in contrast naast een duidelijk \u0026lsquo;JA\u0026rsquo;.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u0026lsquo;Nur\u0026rsquo;, \u0026lsquo;ich\u0026rsquo; en \u0026lsquo;als\u0026rsquo; onderzoekt de relaties tussen deze woorden en hun betekenis. Het is allicht geen toeval dat voor \u0026lsquo;als\u0026rsquo;, een voorwaarde, een wit pastel gebruikt is. 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colours.\u0026nbsp; Is it the movement of water and air that we perceive in the taut pencil stripes?\u0026nbsp; A minimalist arrow propels \u0026quot;\u0026agrave; cause de moi\u0026quot;.\u003c/p\u003e\u003cp\u003eWords denote relationships and activities drawn from daily life.\u0026nbsp; Small letters that whisper \u0026lsquo;ich hore Anny blockfl\u0026uuml;te spielen\u0026rsquo; (\u0026#39;I hear Anny playing the recorder), stand in contrast alongside a clear \u0026lsquo;JA\u0026rsquo;.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u0026lsquo;Nur\u0026rsquo;, \u0026lsquo;ich\u0026rsquo; and \u0026lsquo;als\u0026rsquo; (Only, I, as) examines the relationships between words and their meanings.\u0026nbsp; It is probably no coincidence that a white pastel is used for \u0026#39;as\u0026#39;, a proviso.\u0026nbsp; The word is only visible with a particular incidence of light.\u0026nbsp;\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13097,"title":"Ohne Titel ","dimensions":"270 x 180 cm","date_begin":"1971-01-01","material":"oxblood on canvas ","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":"Estate Bernd 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especially known to the wider public for this genre of expression, Bernd Lohaus did indeed delve into the world of concrete poetry.\u0026nbsp; In 1965-66 he focused on these more fragile works clearly inspired by language.\u0026nbsp; Using markers, pencil, typewriter and carbon paper, he applied repetitions of words and signs onto paper.\u0026nbsp; Ordinary writing paper, but also pieces of envelopes and even his father\u0026#39;s business cards (the jurist August Lohaus) served as his surfaces.\u0026nbsp; In this series we recognize \u0026#39;HIC ET NUNC\u0026#39; (here and now), but also interconnections of the letter \u0026#39;o\u0026#39;.\u0026nbsp; The overall ambience is one of humour and the absurd.\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eHoewel Bernd Lohaus bij het brede publiek niet gekend is voor dit genre, heeft hij toch meerdere concrete po\u0026euml;zie-werken gemaakt. In \u0026#39;65 en \u0026#39;66 spitst hij zicht toe op de meer fragielere, duidelijk door taal ge\u0026iuml;nspireerde werken. Gebruik makend van stift, potlood, typemachine en carbonpapier worden herhalingen van woorden en tekens op papier aangebracht. Gewoon briefpapier, maar ook delen van enveloppes en zelfs het visitekaartje van zijn vader, de jurist August Lohaus, dienen als drager. In de reeks herkennen we \u0026#39;HIC ET NUNC\u0026#39; (hier en nu), maar ook aaneenschakelingen van de letter \u0026#39;o\u0026#39;. \u0026nbsp;Het geheel doet absurd en humoristisch aan.\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":13076,"title":"Ohne Titel ","dimensions":"","date_begin":"1990-01-01","material":"Pencil and print on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Estate Bernd Lohaus","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"ohne-titel--25","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/000/029/104/large/Bernd_Lohaus__photo_M_HKAcc52.jpg?1433837247","poster_credits":"Estate Bernd Lohaus - 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Door strategisch kleur toe te voegen onderzoekt hij de ruimtelijkheid van het werk. Deze reeks in de elementaire kleuren ossebloedrood, eigeel-geel en pigmentblauw is eerder als conceptuele kunst dan als schilderkunst te beschouwen.\u0026nbsp;Lohaus\u0026#39; canvassen worden rechtstreeks op de grond geplaatst, ze hoeven niet opgehangen te worden, ze nemen als het ware de ruimte in met hun aanwezigheid.\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":13091,"title":"Ohne Titel","dimensions":"280 x 22 x 20 cm","date_begin":"1967-01-01","material":"wood, rope","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":"Estate Bernd Lohaus","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1968-01-01","reference":"","stream_count_app":9,"permalink":"ohne-titel--32","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/000/029/724/large/Bernd_Lohaus__photo_M_HKAcc74.jpg?1436185234","poster_credits":"Estate Bernd Lohaus - 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In the mid-1960s he moved to Antwerp, where he played an important role as an artist in the development of a flourishing avant-garde scene, especially as a co-founder of the legendary Wide White Space gallery. Lohaus\u0026rsquo;s visual language is very simple, in terms of materials as well as of design. His materials are always pure and natural, to do with life itself, and his works breathe restrained poetry. They delve into the relation between an Ich [I] and a Du [thou], between the artist, the viewer and the work of art, but also between people ad between people and things in general. The installation consists of a passage that has become inaccessible: blocked by horizontal bands of brown paper tape. Between the different bands there is always an opening allowing us to peer through. Yet the installation also provokes a sense of captivity. A confined sphere is suggested by the grid effect of the bands of tape. There is also something vulnerable over the piece, not just in the materials used but also in the emotive space they create.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eBerd Lohaus was in de jaren 1960 een leerling van Joseph Beuys aan de Staatliche Kunstakademie van Dusseldorf. In het midden van de jaren 1960 verhuisde hij naar Antwerpen, waar hij als kunstenaar een belangrijke rol speelde in de ontwikkeling van een bloeiende avant-garde scene, in het bijzonder rond de legendarische kunstruimte Wide White Space. Lohaus\u0026rsquo; beeldtaal is zeer eenvoudig, zowel qua materiaal als qua vormgeving. Zijn materialen hebben iets puurs, iets natuurlijks, iets van het leven zelf. Er gaat een grote po\u0026euml;zie uit van zijn werk. Met zijn werken onderzocht hij ook de relatie tussen Ich en Du (ik en jij), tussen de kunstenaar, de kijker en het kunstwerk, maar ook tussen mensen onderling en tussen mensen en dingen in het algemeen. De installatie bestaat uit een doorgang die ontoegankelijk is gemaakt: deze wordt afgesloten door horizontale repen bruine papier tape. Tussen de verschillende repen is er telkens een opening zodat je wel een doorkijk hebt. De installatie geeft de kijker een gevoel van gevangenschap, een sfeer wordt opgeroepen door het tralie-effect van de repen tape. Daarnaast heeft het werk ook iets kwetsbaars over zich, niet alleen door de gebruikte materialen en de opstelling, maar ook door de sfeer, het gevoel dat het oproept.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":13073,"title":"4 werken op papier zonder titel ","dimensions":"","date_begin":null,"material":"Crayon and tape on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Estate Bernd Lohaus","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"4-werken-op-papier-zonder-titel","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/000/029/097/large/Bernd_Lohaus__photo_M_HKAcc44.jpg?1433508003","poster_credits":"Estate Bernd Lohaus - (c) M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13430,"title":"Untitled ","dimensions":"16.5 x 254 x 31.5 cm ","date_begin":"1968-01-01","material":"Wood ","short_description":"\u003cp\u003eA key feature of Lohaus\u0026rsquo; work is his choice of materials. He is particularly fond of rough wooden blocks.\u0026nbsp;The title leads us to believe that this artwork will take up a lot of space, but nothing could be further from the truth: the image is limited both in terms of its dimensions and in terms of the space it takes up. Thus, Lohaus relativises the meaning of a title or a word, and at the same time breaks away from the viewer\u0026rsquo;s fixed expectations. Just like Lohaus\u0026rsquo; other works, this image is a tribute to intangibility, transience and uncertainty.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Estate Bernd Lohaus ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"untitled-1c1c6374-a12f-4ea2-8ae2-f81ee436ca60","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/000/030/626/large/BerndLohausUntitledca1968.jpg?1453893357","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003e\u003cspan style=\"line-height:1.6\"\u003eKenmerkend voor Lohaus\u0026rsquo; werk is zijn materiaalgebruik. Ruwe houten blokken die hij vindt op zijn wandelingen langs de Schelde genieten zijn voorkeur.\u0026nbsp;De titel doet vermoeden dat het gaat om een kunstwerk dat een grote oppervlakte bestrijkt. Niets is minder waar, het beeld is zowel beperkt in afmetingen als in ruimte. Lohaus relativeert hiermee de betekenis van een titel of een woord, en doorbreekt tegelijk de verwachtingspatronen van de toeschouwer. Net zoals Lohaus\u0026rsquo; andere werken, getuigt dit beeld dan ook van ongrijpbaarheid, vergankelijkheid en veranderlijkheid.\u003c/span\u003e\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":13432,"title":"Untitled ","dimensions":"Wood: 26 x 48 x 13 cm, Rope: 215 cm length  ","date_begin":"1970-01-01","material":"Wood, rope ","short_description":"\u003cp\u003eA key feature of Lohaus\u0026rsquo; work is his choice of materials. He is particularly fond of rough wooden blocks. This work consists of a wooden black and rope, this makes it possible to even hang the work from a ceiling or wall. The title leads us to believe that this artwork will take up a lot of space, but nothing could be further from the truth: the image is limited both in terms of its dimensions and in terms of the space it takes up. Thus, Lohaus relativises the meaning of a title or a word, and at the same time breaks away from the viewer\u0026rsquo;s fixed expectations. Just like Lohaus\u0026rsquo; other works, this image is a tribute to intangibility, transience and uncertainty.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Estate Bernd Lohaus","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"untitled-4abc1661-9699-403e-86b5-8bc6f105a08a","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/000/030/624/large/BerndLohausUntitledca1970rope.jpg?1453893279","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003e\u003cspan style=\"line-height:1.6\"\u003eKenmerkend voor Lohaus\u0026rsquo; werk is zijn materiaalgebruik. Ruwe houten blokken die hij vindt op zijn wandelingen langs de Schelde genieten zijn voorkeur. Dit werk bestaat uit een houten blok en touw, dit maakt het mogelijk het werk op te hangen aan een plafond of muur. De titel doet vermoeden dat het gaat om een kunstwerk dat een grote oppervlakte bestrijkt. Niets is minder waar, het beeld is zowel beperkt in afmetingen als in ruimte. Lohaus relativeert hiermee de betekenis van een titel of een woord, en doorbreekt tegelijk de verwachtingspatronen van de toeschouwer. Net zoals Lohaus\u0026rsquo; andere werken, getuigt dit beeld dan ook van ongrijpbaarheid, vergankelijkheid en veranderlijkheid.\u003c/span\u003e\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":13431,"title":"Untitled ","dimensions":"14 x 87 x 38 cm ","date_begin":"1970-01-01","material":"Wood ","short_description":"\u003cp\u003eA key feature of Lohaus\u0026rsquo; work is his choice of materials. He is particularly fond of rough wooden blocks.\u0026nbsp;The title leads us to believe that this artwork will take up a lot of space, but nothing could be further from the truth: the image is limited both in terms of its dimensions and in terms of the space it takes up. Thus, Lohaus relativises the meaning of a title or a word, and at the same time breaks away from the viewer\u0026rsquo;s fixed expectations. Just like Lohaus\u0026rsquo; other works, this image is a tribute to intangibility, transience and uncertainty.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Estate Bernd Lohaus","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"untitled-575a69f7-2048-42ce-bece-09aade93101e","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/000/030/625/large/BerndLohausUntitled1970.jpg?1453893318","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eKenmerkend voor Lohaus\u0026rsquo; werk is zijn materiaalgebruik. Ruwe houten blokken die hij vindt op zijn wandelingen langs de Schelde genieten zijn voorkeur.\u0026nbsp;De titel doet vermoeden dat het gaat om een kunstwerk dat een grote oppervlakte bestrijkt. Niets is minder waar, het beeld is zowel beperkt in afmetingen als in ruimte. Lohaus relativeert hiermee de betekenis van een titel of een woord, en doorbreekt tegelijk de verwachtingspatronen van de toeschouwer. Net zoals Lohaus\u0026rsquo; andere werken, getuigt dit beeld dan ook van ongrijpbaarheid, vergankelijkheid en veranderlijkheid.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":13539,"title":"Untitled ","dimensions":"","date_begin":"1993-01-01","material":"","short_description":"\u003cp\u003eSince the late 70s Bernd Lohaus drew and often painted a flower motif, and parallel he came out with his monumental sculptures in wood. He only rarely showed them together, as if one excluded the other. Lohaus developed a preference for certain types of flowers in different periods. In the 90s for example, it was the Hydrangea, or later, in 2000, the Gladiolus.\u0026nbsp;Lohaus\u0026#39; favorite flower, Hippeastrum (also called \u0026quot;Amaryllis\u0026quot;) gets special attention during all the years. An extremely careful observation appears in the beginning, to make way for strong colours, put on with a confident brush stroke.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Estate Bernd Lohaus","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"bernd-lohaus-4afa0efd-d7a7-4f2e-ae0b-bf59a8a83bd1","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/000/030/648/large/2016_the_Gap__photoM_HKAc9.jpg?1454084135","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eSinds eind jaren 70 tekende en schilderde Bernd Lohaus vaak de bloem als motief, en parallel trad hij naar buiten met zijn monumentale sculpturen in hout. Slechts zelden toonde hij ze samen, alsof het ene het andere uitsloot. Lohaus ontwikkelde een voorkeur voor bepaalde bloemsoorten in verschillende periodes. In de jaren \u0026#39;90 is dit bijvoorbeeld de Hydrangea, of later - vanaf 2000 - de Gladiolus. Lohaus\u0026#39; favoriete bloem, de Hippeastrum (in de volksmond \u0026quot;Amaryllis\u0026quot; genaamd), krijgt gedurende alle jaren zijn bijzondere aandacht.\u0026nbsp;Een uiterst voorzichtig weergegeven waarneming in het begin, maakt later plaats voor krachtige kleuren, gezet met een zelfzeker penseel.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":13540,"title":"Untitled ","dimensions":"","date_begin":"2001-01-01","material":"","short_description":"\u003cp\u003eSince the late 70s Bernd Lohaus drew and often painted a flower motif, and parallel he came out with his monumental sculptures in wood. He only rarely showed them together, as if one excluded the other. Lohaus developed a preference for certain types of flowers in different periods. In the 90s for example, it was the Hydrangea, or later, in 2000, the Gladiolus.\u0026nbsp;Lohaus\u0026#39; favorite flower, Hippeastrum (also called \u0026quot;Amaryllis\u0026quot;) gets special attention during all the years. An extremely careful observation appears in the beginning, to make way for strong colours, put on with a confident brush stroke.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Estate Bernd Lohaus","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"blumen","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/000/030/647/large/2016_the_Gap__photoM_HKAclinckx_36_18.jpg?1454084077","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eSinds eind jaren 70 tekende en schilderde Bernd Lohaus vaak de bloem als motief, en parallel trad hij naar buiten met zijn monumentale sculpturen in hout. Slechts zelden toonde hij ze samen, alsof het ene het andere uitsloot. Lohaus ontwikkelde een voorkeur voor bepaalde bloemsoorten in verschillende periodes. In de jaren \u0026#39;90 is dit bijvoorbeeld de Hydrangea, of later - vanaf 2000 - de Gladiolus. Lohaus\u0026#39; favoriete bloem, de Hippeastrum (in de volksmond \u0026quot;Amaryllis\u0026quot; genaamd), krijgt gedurende alle jaren zijn bijzondere aandacht.\u0026nbsp;Een uiterst voorzichtig weergegeven waarneming in het begin, maakt later plaats voor krachtige kleuren, gezet met een zelfzeker penseel.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":13541,"title":"Untitled ","dimensions":"","date_begin":"2003-01-01","material":"","short_description":"\u003cp\u003eSince the late 70s Bernd Lohaus drew and often painted a flower motif, and parallel he came out with his monumental sculptures in wood. He only rarely showed them together, as if one excluded the other. 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An extremely careful observation appears in the beginning, to make way for strong colours, put on with a confident brush stroke.\u0026nbsp;\u003c/p\u003e","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Estate Bernd Lohaus","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"blumen-7b96004d-2a86-49c1-b0da-c19f365e1c7d","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/000/030/646/large/2016_the_Gap__photoM_HKAc19.jpg?1454083935","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eSinds eind jaren 70 tekende en schilderde Bernd Lohaus vaak de bloem als motief, en parallel trad hij naar buiten met zijn monumentale sculpturen in hout. Slechts zelden toonde hij ze samen, alsof het ene het andere uitsloot. Lohaus ontwikkelde een voorkeur voor bepaalde bloemsoorten in verschillende periodes. In de jaren \u0026#39;90 is dit bijvoorbeeld de Hydrangea, of later - vanaf 2000 - de Gladiolus. Lohaus\u0026#39; favoriete bloem, de Hippeastrum (in de volksmond \u0026quot;Amaryllis\u0026quot; genaamd), krijgt gedurende alle jaren zijn bijzondere aandacht.\u0026nbsp;Een uiterst voorzichtig weergegeven waarneming in het begin, maakt later plaats voor krachtige kleuren, gezet met een zelfzeker penseel.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":13542,"title":"Untitled ","dimensions":"","date_begin":"2007-01-01","material":"","short_description":"\u003cp\u003eSince the late 70s Bernd Lohaus drew and often painted a flower motif, and parallel he came out with his monumental sculptures in wood. He only rarely showed them together, as if one excluded the other. Lohaus developed a preference for certain types of flowers in different periods. In the 90s for example, it was the Hydrangea, or later, in 2000, the Gladiolus.\u0026nbsp;Lohaus\u0026#39; favorite flower, Hippeastrum (also called \u0026quot;Amaryllis\u0026quot;) gets special attention during all the years. An extremely careful observation appears in the beginning, to make way for strong colours, put on with a confident brush stroke.\u0026nbsp;\u003c/p\u003e","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Estate Bernd Lohaus","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"blumen-bee7de6d-365e-4e87-9f5a-63b3da243962","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/000/030/645/large/2016_the_Gap__photoM_HKAc3.jpg?1454083756","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eSinds eind jaren 70 tekende en schilderde Bernd Lohaus vaak de bloem als motief, en parallel trad hij naar buiten met zijn monumentale sculpturen in hout. Slechts zelden toonde hij ze samen, alsof het ene het andere uitsloot. Lohaus ontwikkelde een voorkeur voor bepaalde bloemsoorten in verschillende periodes. In de jaren \u0026#39;90 is dit bijvoorbeeld de Hydrangea, of later - vanaf 2000 - de Gladiolus. Lohaus\u0026#39; favoriete bloem, de Hippeastrum (in de volksmond \u0026quot;Amaryllis\u0026quot; genaamd), krijgt gedurende alle jaren zijn bijzondere aandacht.\u0026nbsp;Een uiterst voorzichtig weergegeven waarneming in het begin, maakt later plaats voor krachtige kleuren, gezet met een zelfzeker penseel.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":13758,"title":"Bernd Lohaus","dimensions":"27 x 21 cm, 126 p., language : Dutch, French, English, publisher : Museum van Hedendaagse Kunst, Antwerpen","date_begin":"1995-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1995/200","stream_count_app":9,"permalink":"bernd-lohaus-e3110f4b-20bd-49a9-bded-cb7a3c894dc2","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/000/031/400/large/__Photo_M_HKA__68.jpg?1458640721","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eForeword : Florent Bex, Director MuHKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Jan Fonc\u0026eacute; (Curator MuHKA), Denis-Laurent Bouyer \u0026amp; Bernd Lohaus.\u003c/p\u003e\r\n\r\n\u003cpre\u003e\r\n\u003cb\u003eAvailable in the M HKA - bookshop.\u003c/b\u003e\u003c/pre\u003e\r\n\r\n\u003cpre\u003e\r\n\r\n\u0026nbsp;\u003c/pre\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eForeword : Florent Bex, Director MuHKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Jan Fonc\u0026eacute; (Curator MuHKA), Denis-Laurent Bouyer \u0026amp; Bernd Lohaus.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eVerkrijgbaar in de M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eForeword : Florent Bex, Director MuHKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Jan Fonc\u0026eacute; (Curator MuHKA), Denis-Laurent Bouyer \u0026amp; Bernd Lohaus.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eDisponible dans le M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"}]},{"id":15575,"title":"Ohne Titel","dimensions":"45 x 29 x 18 cm","date_begin":"2004-01-01","material":"wood, wax","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003ereferentie database Bernd Lohaus W242\u003c/p\u003e\r\n","date_end":null,"reference":"BK007987","stream_count_app":33,"permalink":"ohne-titel-8cc08de7-b4bd-4446-99d3-cbd17b5d166a","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":"Bernd Lohaus","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/000/035/270/large/TSG160617_0830_LoRes.jpg?1492511310","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":18386,"title":"Bernd Lohaus","dimensions":"29.6 x 20.9 cm, language : Dutch, French, publisher : ICC/Internationaal Cultureel Centrum, Antwerpen","date_begin":"1981-01-01","material":"Ink, paper","short_description":"\u003cp\u003eICC publication, n\u0026deg;212.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditor : Glenn T. Van Looy.\u003c/p\u003e\r\n\r\n\u003cp\u003eAuthor : Wim Van Mulders.\u003c/p\u003e\r\n\r\n\u003cp\u003eExhibition : ICC/Internationaal Cultureel Centrum, Antwerpen (13.6. - 23.8.1981).\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition Catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2028/196","stream_count_app":6,"permalink":"bernd-lohaus-d7e5dfef-e019-4553-8800-630929759275","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/000/039/997/medium_500/20180313132117791_0001.jpg?1520943755","cached_actor_names":"Bernd Lohaus","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/000/039/997/large/20180313132117791_0001.jpg?1520943755","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":19583,"title":"Ohne Titel","dimensions":"","date_begin":"1966-01-01","material":"mixed media; wood, rope","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":"Collection M HKA, Antwerp / Donated by Isi Fiszman","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0576_01","stream_count_app":20,"permalink":"ohne-titel-879854a9-e09a-4cae-8722-430f90fe6278","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/000/041/199/medium_500/Lohaus__Bernd__Ohne_Titel_1966_photo_M_HKAcc.jpg?1527604760","cached_actor_names":"Bernd Lohaus","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/000/041/199/large/Lohaus__Bernd__Ohne_Titel_1966_photo_M_HKAcc.jpg?1527604760","poster_credits":"(c)photo: M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe attraction and dynamism of water and rivers in particular - the Rhine in his native town of D\u0026uuml;sseldorf and the Scheldt in his second home city of Antwerp - have had a major impact on the work of Bernd Lohaus. In the mid-1960s, the artist began to haunt abandoned shipyards in the harbour. In addition to wooden beams, he also found thick ropes there, which he adapted and used in his sculptures in a variety of ways. Lohaus made most of the rope works between 1966 and 1968.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn the piece dating from 1966, the different elements are determined by their fundamental properties: mass, gravity, tension and load-bearing capacity. Thus, a dynamic emerges from the relationship between the various parts of the sculpture. In the work dating from 1967-1968, rope and wood create a whole in terms of form. The rope connects two wooden beams, which are completely enveloped by them. Since the ends of the rope seem to merge with the sculpture, a suggestion of infinity emerges.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe notion of connection is a recurring theme throughout Lohaus\u0026#39; \u003cem\u003eoeuvre\u003c/em\u003e and is strongly present in the works with ship\u0026#39;s rope. The properties of the rope itself - made up of different strands that are interwoven with each other - and its function to connect different elements with each other are consistent with this. The works that combine wooden components with rope create a connection between seemingly contradictory concepts: transience and robustness; weightlessness and gravity.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe aantrekkingskracht en de dynamiek van water en meer bepaald rivieren \u0026ndash; de Rijn in zijn geboortestad D\u0026uuml;sseldorf en de Schelde in zijn tweede thuis Antwerpen \u0026ndash; hebben een belangrijke invloed uitgeoefend op het werk van Bernd Lohaus. Midden jaren 1960 begon de kunstenaar verlaten scheepswerven in de haven te bezoeken. Naast houten balken vond hij daar ook dikke koorden die hij op verschillende manieren bewerkte en gebruikte in zijn sculpturen. De meeste koordwerken maakte Lohaus tussen 1966 en 1968.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn het werk uit 1966 worden de verschillende elementen bepaald door hun fundamentele eigenschappen: massa, zwaartekracht, spanning en draagkracht. Op die manier ontstaat er een dynamiek uit de relatie tussen de verschillende delen van de sculptuur. In het werk uit 1967-1968 cre\u0026euml;ren koord en hout eerder een vormelijk geheel. Het touw verbindt twee houten balken, die er volledig door omzwachteld worden. Doordat de uiteinden van het touw in de sculptuur lijken op te gaan, ontstaat er een suggestie van oneindigheid.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHet idee van verbinding is een kernbegrip doorheen het hele oeuvre van Lohaus en komt in de werken met scheepstouw sterk tot uitdrukking. De eigenschappen van touw zelf \u0026ndash; opgebouwd uit verschillende draden die met elkaar vervlochten zijn \u0026ndash; en de functie ervan om verschillende elementen met elkaar te verbinden sluiten hier bij aan. De werken die houten onderdelen met touw combineren, cre\u0026euml;ren een verbinding tussen schijnbaar tegengestelde begrippen: vluchtigheid en het robuuste; gewichtsloosheid en zwaarte.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLa fascination et le dynamique de l\u0026rsquo;eau et plus particuli\u0026egrave;rement des rivi\u0026egrave;res \u0026ndash; le Rhin dans sa ville natale de D\u0026uuml;sseldorf et l\u0026rsquo;Escaut dans son deuxi\u0026egrave;me foyer \u0026agrave; Anvers \u0026ndash; ont eu une influence importante sur l\u0026rsquo;\u0026oelig;uvre de Bernd Lohaus. Au milieu des ann\u0026eacute;es 1960, l\u0026rsquo;artiste a commenc\u0026eacute; \u0026agrave; visiter des chantiers navals abandonn\u0026eacute;s dans le port. A part des poutres en bois, il y trouvait \u0026eacute;galement des cordes \u0026eacute;paisses qu\u0026rsquo;il traitait de mani\u0026egrave;res diff\u0026eacute;rentes et qu\u0026rsquo;il utilisait dans ses sculptures. Lohaus a r\u0026eacute;alis\u0026eacute; la plupart de ces \u0026oelig;uvres avec des cordes entre 1966 et 1968.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDans l\u0026rsquo;\u0026oelig;uvre de 1966 les diff\u0026eacute;rents \u0026eacute;l\u0026eacute;ments sont d\u0026eacute;termin\u0026eacute;s par leurs caract\u0026eacute;ristiques fondamentales : masse, gravit\u0026eacute;, tension et pouvoir portant. De cette mani\u0026egrave;re, une dynamique est g\u0026eacute;n\u0026eacute;r\u0026eacute;e \u0026agrave; partir de la relation entre les diff\u0026eacute;rentes pi\u0026egrave;ces de la sculpture. Dans l\u0026rsquo;\u0026oelig;uvre de 1967-1968, les cordes et le bois cr\u0026eacute;ent plut\u0026ocirc;t un ensemble de forme. La corde relie deux poutres en bois, qui en sont compl\u0026egrave;tement enrob\u0026eacute;es. Du fait que les bouts de la corde semblent dispara\u0026icirc;tre dans la sculpture, une suggestion d\u0026rsquo;infini est cr\u0026eacute;\u0026eacute;e.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eL\u0026rsquo;id\u0026eacute;e de la liaison est une notion essentielle \u0026agrave; travers toute l\u0026rsquo;\u0026oelig;uvre de Lohaus et se manifeste d\u0026rsquo;une mani\u0026egrave;re prononc\u0026eacute;e dans les \u0026oelig;uvres avec les cordes navales. Les caract\u0026eacute;ristiques de la corde m\u0026ecirc;me \u0026ndash; compos\u0026eacute;e de plusieurs fils qui sont entrelac\u0026eacute;s \u0026ndash; et leur fonction de liaisonner diff\u0026eacute;rents \u0026eacute;l\u0026eacute;ments se relient. \u0026nbsp;Les \u0026oelig;uvres qui combinent des composants en bois et de la corde, cr\u0026eacute;ent une liaison entre des notions en apparence contradictoires\u0026nbsp;: volatilit\u0026eacute; et robuste; apesanteur et lourdeur.\u003c/p\u003e\r\n"}]},{"id":19584,"title":"Ohne Titel","dimensions":"","date_begin":"1967-01-01","material":"mixed media; wood, rope","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":"Collection M HKA, Antwerp / Donated by Isi Fiszman","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1968-01-01","reference":"S0576_2","stream_count_app":25,"permalink":"ohne-titel-faf21604-14b9-4b2d-9081-fdc6e9c9e219","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/000/041/201/medium_500/Lohaus__Bernd__Ohne_Titel_1967-68_photo_M_HKAcc_1.jpg?1527604897","cached_actor_names":"Bernd Lohaus","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/000/041/200/large/Lohaus__Bernd__Ohne_Titel_1967-68_photo_M_HKAcc_1.jpg?1527604865","poster_credits":"(c)photo: M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe attraction and dynamism of water and rivers in particular - the Rhine in his native town of D\u0026uuml;sseldorf and the Scheldt in his second home city of Antwerp - have had a major impact on the work of Bernd Lohaus. In the mid-1960s, the artist began to haunt abandoned shipyards in the harbour. In addition to wooden beams, he also found thick ropes there, which he adapted and used in his sculptures in a variety of ways. Lohaus made most of the rope works between 1966 and 1968.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn the piece dating from 1966, the different elements are determined by their fundamental properties: mass, gravity, tension and load-bearing capacity. Thus, a dynamic emerges from the relationship between the various parts of the sculpture. In the work dating from 1967-1968, rope and wood create a whole in terms of form. The rope connects two wooden beams, which are completely enveloped by them. Since the ends of the rope seem to merge with the sculpture, a suggestion of infinity emerges.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe notion of connection is a recurring theme throughout Lohaus\u0026#39; \u003cem\u003eoeuvre\u003c/em\u003e and is strongly present in the works with ship\u0026#39;s rope. The properties of the rope itself - made up of different strands that are interwoven with each other - and its function to connect different elements with each other are consistent with this. The works that combine wooden components with rope create a connection between seemingly contradictory concepts: transience and robustness; weightlessness and gravity.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe aantrekkingskracht en de dynamiek van water en meer bepaald rivieren \u0026ndash; de Rijn in zijn geboortestad D\u0026uuml;sseldorf en de Schelde in zijn tweede thuis Antwerpen \u0026ndash; hebben een belangrijke invloed uitgeoefend op het werk van Bernd Lohaus. Midden jaren 1960 begon de kunstenaar verlaten scheepswerven in de haven te bezoeken. Naast houten balken vond hij daar ook dikke koorden die hij op verschillende manieren bewerkte en gebruikte in zijn sculpturen. De meeste koordwerken maakte Lohaus tussen 1966 en 1968.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn het werk uit 1966 worden de verschillende elementen bepaald door hun fundamentele eigenschappen: massa, zwaartekracht, spanning en draagkracht. Op die manier ontstaat er een dynamiek uit de relatie tussen de verschillende delen van de sculptuur. In het werk uit 1967-1968 cre\u0026euml;ren koord en hout eerder een vormelijk geheel. Het touw verbindt twee houten balken, die er volledig door omzwachteld worden. Doordat de uiteinden van het touw in de sculptuur lijken op te gaan, ontstaat er een suggestie van oneindigheid.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHet idee van verbinding is een kernbegrip doorheen het hele oeuvre van Lohaus en komt in de werken met scheepstouw sterk tot uitdrukking. De eigenschappen van touw zelf \u0026ndash; opgebouwd uit verschillende draden die met elkaar vervlochten zijn \u0026ndash; en de functie ervan om verschillende elementen met elkaar te verbinden sluiten hier bij aan. De werken die houten onderdelen met touw combineren, cre\u0026euml;ren een verbinding tussen schijnbaar tegengestelde begrippen: vluchtigheid en het robuuste; gewichtsloosheid en zwaarte.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLa fascination et le dynamique de l\u0026rsquo;eau et plus particuli\u0026egrave;rement des rivi\u0026egrave;res \u0026ndash; le Rhin dans sa ville natale de D\u0026uuml;sseldorf et l\u0026rsquo;Escaut dans son deuxi\u0026egrave;me foyer \u0026agrave; Anvers \u0026ndash; ont eu une influence importante sur l\u0026rsquo;\u0026oelig;uvre de Bernd Lohaus. Au milieu des ann\u0026eacute;es 1960, l\u0026rsquo;artiste a commenc\u0026eacute; \u0026agrave; visiter des chantiers navals abandonn\u0026eacute;s dans le port. A part des poutres en bois, il y trouvait \u0026eacute;galement des cordes \u0026eacute;paisses qu\u0026rsquo;il traitait de mani\u0026egrave;res diff\u0026eacute;rentes et qu\u0026rsquo;il utilisait dans ses sculptures. Lohaus a r\u0026eacute;alis\u0026eacute; la plupart de ces \u0026oelig;uvres avec des cordes entre 1966 et 1968.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDans l\u0026rsquo;\u0026oelig;uvre de 1966 les diff\u0026eacute;rents \u0026eacute;l\u0026eacute;ments sont d\u0026eacute;termin\u0026eacute;s par leurs caract\u0026eacute;ristiques fondamentales : masse, gravit\u0026eacute;, tension et pouvoir portant. De cette mani\u0026egrave;re, une dynamique est g\u0026eacute;n\u0026eacute;r\u0026eacute;e \u0026agrave; partir de la relation entre les diff\u0026eacute;rentes pi\u0026egrave;ces de la sculpture. Dans l\u0026rsquo;\u0026oelig;uvre de 1967-1968, les cordes et le bois cr\u0026eacute;ent plut\u0026ocirc;t un ensemble de forme. La corde relie deux poutres en bois, qui en sont compl\u0026egrave;tement enrob\u0026eacute;es. Du fait que les bouts de la corde semblent dispara\u0026icirc;tre dans la sculpture, une suggestion d\u0026rsquo;infini est cr\u0026eacute;\u0026eacute;e.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eL\u0026rsquo;id\u0026eacute;e de la liaison est une notion essentielle \u0026agrave; travers toute l\u0026rsquo;\u0026oelig;uvre de Lohaus et se manifeste d\u0026rsquo;une mani\u0026egrave;re prononc\u0026eacute;e dans les \u0026oelig;uvres avec les cordes navales. Les caract\u0026eacute;ristiques de la corde m\u0026ecirc;me \u0026ndash; compos\u0026eacute;e de plusieurs fils qui sont entrelac\u0026eacute;s \u0026ndash; et leur fonction de liaisonner diff\u0026eacute;rents \u0026eacute;l\u0026eacute;ments se relient. \u0026nbsp;Les \u0026oelig;uvres qui combinent des composants en bois et de la corde, cr\u0026eacute;ent une liaison entre des notions en apparence contradictoires\u0026nbsp;: volatilit\u0026eacute; et robuste; apesanteur et lourdeur.\u003c/p\u003e\r\n"}]},{"id":27891,"title":"Zonder titel","dimensions":"","date_begin":"1967-01-01","material":"","short_description":"\u003cp style=\"text-align: justify;\"\u003eDoosje met vijf multiples uitgegeven door Wide White Space Gallery als nieuwjaarsgeschenk; visitekaartje met handgeschreven nieuwjaarswens en op verso getypte namen van kunstenaars en titels van de multiples. Antwerpen, 1967. Multiples van Marcel Broodthaers, Jeroen Henneman, Hugo Heyrman, Bernd Lohaus, Panamarenko\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":46,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"M00337","stream_count_app":16,"permalink":"zonder-titel-217b227c-32a0-40a7-87ed-2ed642b1e76f","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/000/086/906/medium_500/1966_nieuwjaarscadeau_WWS.jpg?1663233631","cached_actor_names":"Marcel Broodthaers,  Panamarenko, Jeroen Henneman, Dr. Hugo Heyrman, Bernd Lohaus","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/086/906/large/1966_nieuwjaarscadeau_WWS.jpg?1663233631","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":28939,"title":"Von der Wiederholung der Träume zur Realität (cat.)","dimensions":"A5 var.","date_begin":"1991-01-01","material":"paper, ink (printing)","short_description":"\u003cp\u003eCatalogue for the group exhibition at Grita Insam (Vienna) \u0026quot;Von der Wiederholung der Tr\u0026auml;ume zur Realit\u0026auml;t\u0026quot; curated by Ulrike Lindmayr\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":84,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerpen - Schenking Samarkand, 2019","cached_tag_list":"catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":25,"permalink":"von-der-wiederholung-der-traume-zur-realitat-cat","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eCataloog voor de groepstentoonstelling bij Grita Insam (Wenen) \u0026quot;Von der Wiederholung der Tr\u0026auml;ume zur Realit\u0026auml;t\u0026quot; samengesteld door Ulrike Lindmayr\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/065/834/medium_500/JL18s029.jpg?1606036798","cached_actor_names":"Jef Geys, Michel François, Ulli Lindmayr, Ria Pacquée, Patrick Vanden Eynde, Patrick Van Caeckenbergh, Bernd Lohaus, Frank F Castelyns, Jef Lambrecht","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/000/065/834/large/JL18s029.jpg?1606036798","poster_credits":"M HKA","translations":[{"locale":"en","description":"\u003cp\u003eCatalogue for the group exhibition at Grita Insam (Vienna) \u0026quot;Von der Wiederholung der Tr\u0026auml;ume zur Realit\u0026auml;t\u0026quot; curated by Ulrike Lindmayr\u003c/p\u003e\r\n\r\n\u003cp\u003etitle from work by Bernd Lohaus - JL proposed I.E. \u0026amp; \u0026#39;presidency\u0026#39;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eCataloog voor de groepstentoonstelling bij Grita Insam (Wenen) \u0026quot;Von der Wiederholung der Tr\u0026auml;ume zur Realit\u0026auml;t\u0026quot; samengesteld door Ulrike Lindmayr\u003c/p\u003e\r\n\r\n\u003cp\u003etitel van Bernd Lohaus - JL presenteerde I.E. en \u0026#39;presidency\u0026#39;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":2645,"title":"Während/DU/als Gegenüber/oder/zwischen dem/ICH","dimensions":"3 x (39 x 124 x 40 cm)","date_begin":"1985-01-01","material":"wood, chalk","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":1,"collection":"Collectie M HKA, Antwerpen / Collectie Vlaamse Gemeenschap","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eMet *Kipfftafel* katapulteert Hildt Remeysenons via de combinatie Duitse voorzetsels, krijt en hout terug naar de moeilijke lessen Duits over naamvallen bij voorzetsels. Moeilijk vooral omdat in het Nederlands deze naamvallen bijna niet meer voorkomen. Hildt kon het werk van Lohaus niet los zien van Duitse grammatica. Pas daarna ging haar aandacht naar de plaats van het individu ten opzichte van de andere: niet alleen door driedimensionale houten obstakels, maar ook door taaleigen mogelijkheden en beperkingen. Drie houten balken van tropische houtsoort waarschijnlijk oorspronkelijk verwerkt in een of andere havenconstructie. Ze vertonen alle 3 sporen van witte verf en brandvlekken op de afgeronde zijde. De 3 balken hebben een vierkant grondstuk van ongeveer 5 cm dik en zijn verder over de gehele lengte afgerond. Balk 1: 40 X 39 X 134 op ronde zijde DU ingebeiteld, op rechte zijde zwischen dem in krijt. Balk 2: 40 X 39 X 124 Op ronde zijde oder ingebeiteld, op rechte zijde wärend in krijt.\u003c/p\u003e\u003cp\u003e\u0026nbsp;[While/YOU/as opposite/or/between the/I]\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eDe installatie omvat drie houten balken van tropisch hout, waarschijnlijk oorspronkelijk verwerkt in een havenconstructie. Ze vertonen alle 3 sporen van witte verf en brandvlekken op de afgeronde zijde. De 3 balken hebben een vierkant grondstuk van ongeveer 5 cm dik en zijn verder over de gehele lengte afgerond. Balk 1: 40 x 39 x 134 op ronde zijde 'DU' ingebeiteld, op rechte zijde 'zwischen dem' in krijt. Balk 2: 40 x 39 x 124 Op ronde zijde 'oder' ingebeiteld, op rechte zijde 'als gegenüber' in krijt. Balk 3: 40 x 39 x 121 op ronde zijde 'ICH' ingebeiteld, op rechte zijde 'während' in krijt.\u003c/p\u003e","date_end":null,"reference":"BK005211","stream_count_app":68,"permalink":"wahrend-du-als-gegenuber-oder-zwischen-dem-ich-while-you-as-opposite-or-between-the-i","description_ru":"","description_de":"\u003cp\u003eDiese Installation von Bernd Lohaus besteht aus drei gleichförmigen Holzblöcken. Die Blöcke liegen einfach hintereinander auf dem Boden. Sie haben ein verwittertes Aussehen; sie haben ganz deutlich schon ein Leben hinter sich. Das sehen wir beispielsweise auch an den Metallschrauben, die sich noch teilweise in den Blöcken befinden. Auf jedem Block ist etwas ins Holz geritzt und ist etwas mit Kreide geschrieben. Es geht um die Worte „ICH“ und „während“, „als gegenüber“ und „DU“ und „zwischen dem“. Es sind Worttypen, die im Werk von Lohaus oft wiederkehren: Pronomen, Präpositionen und Konjunktionen.\u003c/p\u003e\u003cp\u003eMit seinem Werk reflektiert Lohaus seine Beziehung zwischen ICH und DU, die Beziehung zwischen dem Künstler, dem Kunstwerk und dem Betrachter, aber auch die Beziehung zwischen Menschen untereinander und zwischen Menschen und Dingen im Allgemeinen. Die Blöcke berühren sich nicht: Es gibt ganz klar Wechselbeziehungen, aber es bleibt ein gewisser Abstand erhalten. Lohaus regt den Betrachter jedoch dazu an, selbst darüber nachzudenken, und dadurch wird die Bedeutung des Werkes teilweise vom Betrachter mitbestimmt: Lohaus stellt zwar Fragen, aber gibt keine eindeutigen Antworten. Die Worte, die in den Balken geritzt sind, werden ewig erhalten bleiben. An der anderen Seite befinden sich jedoch Worte, die mit Kreide angebracht wurden und die somit sehr empfindlich sind. Diese Worte müssen hin und wieder überschrieben werden. Es gibt somit etwas Ewiges und etwas Vergängliches in diesem Werk. Im Einklang mit Joseph Beuys und anderen Künstlern hebt Lohaus in diesem Werk die künstliche Trennung zwischen der reinen visuellen Bildsprache und der verbalen Sprache in unserer Kultur auf.\u003c/p\u003e","description_es":"","description_el":"\u003cp\u003eΑυτή η εγκατάσταση του Μπερντ Λόχαους αποτελείται από τρία όμοια ξύλινα μπλοκ. Τα μπλοκ είναι απλά τοποθετημένα το ένα πίσω από το άλλο στο έδαφος. Έχουν φθαρμένη εμφάνιση και έντονα τα σημάδια του χρόνου επάνω τους. Παρατηρούμε κι άλλες ενδείξεις γι’ αυτό, λόγου χάρη τους σιδερένιους πίρους που εξακολουθούν να βρίσκονται σφηνωμένοι στο ξύλο των μπλοκ. Κάθε μπλοκ έχει πάνω στο ξύλο κάτι χαραγμένο και κάτι γραμμένο με κιμωλία. Βλέπουμε τις λέξεις «ICH» [ΕΓΩ] και «während» [κατά τη διάρκεια], «als gegenüber» [σε αντιδιαστολή με] και «oder» [ή], καθώς και «DU» [ΕΣΥ] και «zwischen dem» [ανάμεσα σε]. Πρόκειται για μέρη του λόγου που βλέπουμε συχνά να επανέρχονται στο έργο του Λόχαους: αντωνυμίες, προθέσεις, συνδέσμους και επιρρήματα.\u003c/p\u003e\u003cp\u003eΜε το έργο του, ο Λόχαους στοχάζεται πάνω στη σχέση μεταξύ ΕΓΩ και ΕΣΥ, στη σχέση μεταξύ καλλιτέχνη, έργου τέχνης και θεατή, αλλά επίσης και πάνω στη σχέση μεταξύ των ανθρώπων αλλά και ανάμεσα στους ανθρώπους και τα πράγματα, ευρύτερα. Τα μπλοκ δεν ακουμπούν το ένα στο άλλο: έχουν σαφείς σχέσεις μεταξύ τους, αλλά μια ορισμένη απόσταση παραμένει. Ο Λόχαους, ωστόσο, αναθέτει επίσης στον θεατή το καθήκον να σκεφτεί πάνω στο έργο, και έτσι το νόημα του έργου συν-καθορίζεται από τα άτομα που σκέφτονται με αφορμή αυτό. Ο Λόχαους θέτει ερωτήματα, αλλά αφήνει το θέμα ανοιχτό προς συζήτηση. Οι λέξεις που είναι χαραγμένες πάνω στα μπλοκ θα διαρκέσουν αιώνια. Από την άλλη πλευρά, όμως, έχουμε και τις λέξεις τις γραμμένες με κιμωλία, ευάλωτες από τη φύση τους. Αυτές οι λέξεις πρέπει μερικές φορές να ξαναπεραστούν με την κιμωλία. Έτσι, αυτό το έργο εμπεριέχει ταυτόχρονα κάτι αιώνιο και κάτι παροδικό. Στη γραμμή διαδοχής του Γιόζεφ Μπόις και άλλων καλλιτεχνών, ο Λόχαους αίρει το τεχνητό φράγμα που υψώνει ο πολιτισμός μας ανάμεσα στην καθαρά οπτική (εικαστική) γλώσσα και τον προφορικό λόγο.\u003c/p\u003e","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":"Bernd Lohaus","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/000/009/226/large/Lohaus__0006_Bernd__W%C3%A4hrend-DU-als_Gegen%C3%BCber_Oder-zwischen_dem-ICH__001__1985__foto_Heirman_Graphics.jpg?1336722212","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThis installation from Bernd Lohaus consists of three identical blocks of wood. The blocks simply lie behind one another on the ground. They have a weatherworn appearance; clearly they already have a life behind them. We also see evidence of this, for instance, with the iron pins that are still partially imbedded in the blocks. Each block had something etched in the wood and written in chalk. We see the words ‘ICH’ (I) and ‘während’ (during), ‘als gegenüber’(as compared to) and ‘oder’ (or) and ‘DU’ (you) and ‘zwischen dem’ (between the). These are parts of speech that we often see recur in Lohaus’s work: pronouns, prepositions, conjunctions and adverbs.\u003c/p\u003e\u003cp\u003eWith his work, Lohaus reflects on the relationship between ICH and DU, on the relationship between the artist, the art work and the viewer, but also on the relationship between people amongst each other and between people and things in general. The blocks do not touch each other: there are clear mutual relationships, but a certain distance remains. Lohaus, however, also sets the viewer the task of thinking about it, and thus the meaning of the work is co-determined by the individuals who ponder it. Lohaus raises questions, but leaves the matter open for discussion. The words scratched into the beams shall last eternally. On the other hand, though, we also have the words written in chalk, vulnerable by its very nature. These words sometimes have to be overwritten. So within this work is contained something eternal and something transient. In the line of Joseph Beuys and other artists, Lohaus lifts the artificial barrier between pure visual (image) language and verbal language in our culture.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eDeze installatie van Bernd Lohaus bestaat uit drie gelijkvormige blokken hout. De blokken liggen gewoon achter elkaar op de grond. Ze hebben een verweerd uitzicht, ze hebben duidelijk al een leven achter zich. Dat zien we bijvoorbeeld ook aan de ijzeren pinnen die nog gedeeltelijk in de blokken zitten. Op elk blok is iets gekrast in het hout en staat iets met krijt geschreven. Het gaat om de woorden ‘ICH’ en ‘während’, ‘als gegenüber’ en ‘oder’ en ‘DU’ en ‘zwischen dem’. Het zijn woordtypes die we in het werk van Lohaus vaak zien terugkeren: voornaamwoorden, voorzetsels, voegwoorden en bijwoorden.\u003c/p\u003e\u003cp\u003eMet zijn werk reflecteert Lohaus over de relatie tussen ICH, ik en DU, jij, over de relatie tussen de kunstenaar, het kunstwerk en de kijker, maar ook over de relaties tussen mensen onderling en tussen mensen en dingen in het algemeen. De blokken raken elkaar niet: er zijn duidelijk onderlinge relaties, maar er blijft een zekere afstand. Lohaus zet de kijker echter ook aan om zelf hierover na te denken en daardoor wordt de betekenis van het werk gedeeltelijk bepaald door de toeschouwer: Lohaus stelt namelijk wel vragen, maar geeft geen éénduidige antwoorden. De woorden die in de balken zijn gekrast, zullen er eeuwig blijven staan. Langs de andere kant heb je echter ook de woorden die met krijt werden aangebracht en die dus zeer kwetsbaar zijn. Deze woorden moeten soms overschreven worden. Er ligt dus zowel iets van het eeuwige als van het vergankelijke in dit werk ingesloten. In de lijn van Joseph Beuys en andere kunstenaars heft Lohaus in dit werk de kunstmatige scheiding tussen de puur visuele beeldtaal en de verbale taal in onze cultuur op.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eCette installation de Bernd Lohaus est constituée de trois blocs de bois de forme identique. Les blocs se trouvent simplement les uns derrière les autres sur le sol. Ils ont un aspect dégradé, il est évident qu'ils ont déjà vécu. Nous le voyons également, par exemple, aux broches de fer qui se trouvent encore en partie dans les blocs. Sur chaque bloc, quelque chose est gravé dans le bois et quelque chose est écrit à la craie. Il s'agit des mots ‘ICH’ et ‘während’, ‘als gegenüber’ et ‘oder’ et ‘DU’ et ‘zwischen dem’. Ce sont des types de mots qui reviennent souvent dans l'oeuvre de Lohaus : pronoms, prépositions, conjonctions et adverbes.\u003c/p\u003e\u003cp\u003eDans son oeuvre, Lohaus reflète aussi la relation entre ICH, je et DU, tu, la relation entre l'artiste, l'oeuvre d'art et le spectateur mais également les relations entre les gens et entre les gens et les objets en général. Les blocs ne se touchent pas : il y a clairement des relations mutuelles mais il reste une certaine distance. Cependant, Lohaus incite également le spectateur à réfléchir par lui-même et par conséquent, la signification de l'oeuvre est déterminée en partie par le spectateur : en effet, Lohaus pose des questions mais ne donne aucune réponse univoque. Les mots qui sont gravés dans les poutres y resteront pendant des siècles. De l'autre côté cependant, vous avez les mots écrits à la craie et qui sont donc très vulnérables. Ces mots doivent parfois être réécrits. Cette oeuvre a donc à la fois un caractère séculaire et un caractère éphémère. Dans la lignée de Joseph Beuys et d'autres artistes, Lohaus soulève dans cette oeuvre la distinction artificielle entre le pur langage imagé visuel et le langage verbal de notre culture.\u003c/p\u003e"}]},{"id":2646,"title":"Ohne Titel","dimensions":"45 x 140 x 115 cm","date_begin":"1986-01-01","material":"wood","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK5244","stream_count_app":40,"permalink":"grote-sculptuur-large-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":"Bernd Lohaus","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/000/008/780/large/Lohaus__0002_Bernd__Grote_Sculptuur__1986_photo_A4Avzw.jpg?1334757589","poster_credits":"(c)image: A4A vzw.","translations":[{"locale":"en","description":"\u003cp\u003eA key feature of Lohaus’ work is his choice of materials. He is particularly fond of rough wooden blocks. The well-thought-out composition \u003ci\u003eOhne Titel\u003c/i\u003e\u0026nbsp;is an arrangement of six wooden beams in a space. The title leads us to believe that this artwork will take up a lot of space, but nothing could be further from the truth: the image is limited both in terms of its dimensions and in terms of the space it takes up. Thus, Lohaus relativises the meaning of a title or a word, and at the same time breaks away from the viewer’s fixed expectations. Just like Lohaus’ other works, this image is a tribute to intangibility, transience and uncertainty.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eKenmerkend voor Lohaus’ werk is zijn materiaalgebruik. Ruwe houten blokken die hij vindt op zijn wandelingen langs de Schelde genieten zijn voorkeur. Voor het werk \u003ci\u003eOhne Titel\u003c/i\u003e ordende hij zes van die gevonden houten balken in een weloverwogen compositie in de ruimte. De titel doet vermoeden dat het gaat om een kunstwerk dat een grote oppervlakte bestrijkt. Niets is minder waar, het beeld is zowel beperkt in afmetingen als in ruimte. Lohaus relativeert hiermee de betekenis van een titel of een woord, en doorbreekt tegelijk de verwachtingspatronen van de toeschouwer. Net zoals Lohaus’ andere werken, getuigt dit beeld dan ook van ongrijpbaarheid, vergankelijkheid en veranderlijkheid.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eL’œuvre de Bernd Lohaus se caractérise par l’usage qu’il fait des matériaux. Il a toutefois une prédilection pour les blocs de bois brut. Pour l’œuvre \u003ci\u003eOhne Titel\u003c/i\u003e, il a disposé six poutres en bois dans l’espace selon une composition très étudiée. Le titre (grande sculpture) laisse présumer qu’il s’agit d’une œuvre volumineuse. Cependant, rien n’est moins vrai ; la sculpture est de taille assez restreinte et occupe peu d’espace. Lohaus relativise ainsi le sens d’un titre ou d’un mot et rompt à la fois les schémas d’attentes des spectateurs. De même que les autres œuvres de Lohaus, cette pièce témoigne d’une nature insaisissable, éphémère et changeante.\u003c/p\u003e"}]}]