[{"id":238,"title":"Portretten [Portraits]","dimensions":"00:03:00","date_begin":"1969-01-01","material":"16 mm film, b/w, sound","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":182,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collectie M HKA, Antwerpen / Collectie Vlaamse Gemeenschap","cached_tag_list":"video","publishing_process_id":1,"annotation":"\u003cp\u003eGuy Mees is placing people on Iton-stones, like a medal ceremony. Two people are elevated on one and two stones; a third person is on the ground at the most important position; in difference this person is free. He's letting the people change, it’s not about winning but offering different possibilities, transcendence; situating itself in the space of a concrete human being. These people are not on a podium, but on a light stone which also marks the unimportance of the material.\u003c/p\u003e","date_end":null,"reference":"BK007207","stream_count_app":36,"permalink":"portretten-portraits","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":"Guy Mees","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/000/001/297/large/Mees,%20Guy,%20%20portretten,%201971%20filmstill%20%2006.jpg?1305188215","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003ePortraits\u003c/i\u003e\u0026nbsp;is the second section of the group of works entitled\u003ci\u003e Level Differences\u003c/i\u003e. In the series \u003ci\u003eLevel Differences\u003c/i\u003e, each time three persons appear on three different levels, on a podium of breezeblocks. The platform was movable, which meant that the work could be shown in a wide variety of locations. A series of portraits emerged of a wide range of people, mostly friends and family of the artist, who enact a short, rather absurd performance. By having the actors change position, the hierarchical stance within the group changes: upper, middle and under. Due to their mutual interchangeability this hierarchy is simultaneously disturbed and put into perspective. The idea behind this series is the demarcation of a distinction, a difference, which is demonstrated by the protagonists. The cameras are only there to record this clarification process. In the early 1970s there was detailed debate about power relationships and hierarchical regulation. This theme connects with a leitmotif in the work of Guy Mees: investigations into systems, classification, seriality and standardization. With the principle of\u003ci\u003e Level Differences\u003c/i\u003e\u0026nbsp;and the use of photography and film, Guy Mees moved into unchartered territory.\u003ci\u003e Portraits\u003c/i\u003e\u0026nbsp;consist of film- and video recordings and photographs in wide-ranging formats, from contact sheets and ‘regular’ family photos in black \u0026amp; white and color, to large-size prints of studio quality. The execution in consciously un-artistic, following the principle of anonymity or the consciously amateurish-looking photographs of conceptual photography. The video and films are direct registrations too, made without much in the way of editing and technical understanding.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ci\u003ePortretten\u003c/i\u003e\u0026nbsp;is het tweede onderdeel van de groep werken onder de titel \u003ci\u003eNiveauverschillen\u003c/i\u003e. In de reeks \u003ci\u003eNiveauverschillen\u003c/i\u003e\u0026nbsp;verschijnen telkens drie personen op drie verschillende niveaus, namelijk op een erepodium van snelbouwstenen. Doordat de verhoging verplaatsbaar was, kon het werk op de meest diverse locaties getoond worden. Hieruit ontstond een reeks van portretten van uiteenlopende personen, meestal vrienden en familie van de kunstenaar, die een korte, nogal absurde performance uitvoeren. Door het variëren in posities wisselt de hiërarchische positie binnen de groep: boven, midden en onder. Door hun onderlinge verwisselbaarheid wordt de hiërarchie tegelijk verstoord en gerelativeerd. De idee achter deze serie is het markeren van een onderscheid, een verschil, dat door de betrokken personen wordt gedemonstreerd. De camera’s zijn er enkel om dit verduidelijkingproces vast te leggen. In de vroege jaren ’70 werd er omstandig gedebatteerd over het ontstaan van machtsverhoudingen en hiërarchische ordening. Deze thematiek sluit aan bij een leidmotief in het werk van Guy Mees: het onderzoek naar systemen, classificatie, serialiteit en standaardisatie. Met het principe van de *Niveauverschillen* en het gebruik van fotografie en film begaf Guy Mees zich op onontgonnen terrein. \u003ci\u003ePortretten\u003c/i\u003e\u0026nbsp;bestaat uit film- en videoregistraties en foto’s op uiteenlopende formaten, van contactafdrukken, over normale familiefoto’s in zwart-wit en kleur, tot opnamen van studiokwaliteit op groot formaat. De uitvoering is bewust onartistiek, volgens het principe van de anonimiteit of de gewild amateuristisch aandoende foto’s van de conceptuele fotografie. Ook de video en de films zijn directe registraties die zonder veel technische bagage en zonder montage gemaakt zijn.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":346,"title":"Water te Water [Water to Water]","dimensions":"00:03:13","date_begin":"1970-01-01","material":"DVD","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"photography film documentation","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0278","stream_count_app":77,"permalink":"water-te-water-water-to-water","description_ru":"","description_de":"\u003cp\u003eUm 1970 experimentiert Guy Mees mit Performance und Videos. In dieser Zeit kreiert Mees die Performance \u003cem\u003eWater te Water\u003c/em\u003e, in der er seine hom\u0026ouml;opathische Bildsprache in eine \u0026ouml;kologische und umweltpolitische Geste umsetzt. Mees l\u0026auml;sst eine helle Kunststoffschale mit sauberem Wasser auf dem verschmutzten Gent-Terneuzen Kanal abtreiben. Die Performance bildet einen poetischen, aber auch schreienden Kommentar \u0026uuml;ber die Probleme der \u0026Ouml;kologie, der Umweltpolitik und der Verschmutzung, die in den sp\u0026auml;ten 60er Jahren der \u0026Ouml;ffentlichkeit nahe gebracht wurden.\u003c/p\u003e\r\n","description_es":"","description_el":"\u003cp style=\"text-align: justify;\"\u003e\u0026Tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u003ci\u003eWater te Water\u003c/i\u003e [\u0026Nu;\u0026epsilon;\u0026rho;ό \u0026pi;ά\u0026nu;\u0026omega; \u0026sigma;\u0026epsilon; \u0026nu;\u0026epsilon;\u0026rho;ό] \u0026alpha;\u0026pi;\u0026omicron;\u0026tau;\u0026epsilon;\u0026lambda;\u0026epsilon;ί\u0026tau;\u0026alpha;\u0026iota; \u0026alpha;\u0026pi;ό έ\u0026nu;\u0026alpha; \u0026beta;ί\u0026nu;\u0026tau;\u0026epsilon;\u0026omicron; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta; \u0026phi;\u0026omega;\u0026tau;\u0026omicron;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;\u0026iota;\u0026kappa;ή \u0026tau;\u0026epsilon;\u0026kappa;\u0026mu;\u0026eta;\u0026rho;ί\u0026omega;\u0026sigma;\u0026eta; \u0026mu;\u0026iota;\u0026alpha;\u0026sigmaf; \u0026pi;\u0026epsilon;\u0026rho;\u0026phi;ό\u0026rho;\u0026mu;\u0026alpha;\u0026nu;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026upsilon; \u0026delta;\u0026eta;\u0026mu;\u0026iota;\u0026omicron;ύ\u0026rho;\u0026gamma;\u0026eta;\u0026sigma;\u0026epsilon; \u0026omicron; \u0026Gamma;\u0026kappa;\u0026iota; \u0026Mu;\u0026epsilon;\u0026sigmaf; \u0026tau;\u0026omicron; 1970. \u0026Omicron; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf; \u0026alpha;\u0026pi;\u0026epsilon;\u0026lambda;\u0026epsilon;\u0026upsilon;\u0026theta;έ\u0026rho;\u0026omega;\u0026sigma;\u0026epsilon; \u0026mu;\u0026iota;\u0026alpha; \u0026delta;\u0026iota;ά\u0026phi;\u0026alpha;\u0026nu;\u0026eta; \u0026pi;\u0026lambda;\u0026alpha;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ή \u0026sigma;\u0026phi;\u0026alpha;ί\u0026rho;\u0026alpha; \u0026mu;\u0026epsilon; \u0026kappa;\u0026alpha;\u0026theta;\u0026alpha;\u0026rho;ό \u0026nu;\u0026epsilon;\u0026rho;ό \u0026sigma;\u0026tau;\u0026omicron; \u0026mu;\u0026omicron;\u0026lambda;\u0026upsilon;\u0026sigma;\u0026mu;έ\u0026nu;\u0026omicron; \u0026kappa;\u0026alpha;\u0026nu;ά\u0026lambda;\u0026iota; \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026xi;ύ \u0026Gamma;ά\u0026nu;\u0026delta;\u0026eta;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026Tau;\u0026epsilon;\u0026rho;\u0026nu;έ\u0026omicron;\u0026upsilon;\u0026zeta;\u0026epsilon;\u0026nu;. \u0026Eta; \u0026pi;\u0026epsilon;\u0026rho;\u0026phi;ό\u0026rho;\u0026mu;\u0026alpha;\u0026nu;\u0026sigmaf; \u0026alpha;\u0026pi;\u0026omicron;\u0026tau;\u0026epsilon;\u0026lambda;\u0026epsilon;ί έ\u0026nu;\u0026alpha; \u0026pi;\u0026omicron;\u0026iota;\u0026eta;\u0026tau;\u0026iota;\u0026kappa;ό \u0026alpha;\u0026lambda;\u0026lambda;ά \u0026kappa;\u0026alpha;\u0026iota; \u0026delta;\u0026eta;\u0026kappa;\u0026tau;\u0026iota;\u0026kappa;ό \u0026sigma;\u0026chi;ό\u0026lambda;\u0026iota;\u0026omicron; \u0026pi;ά\u0026nu;\u0026omega; \u0026sigma;\u0026tau;\u0026alpha; \u0026zeta;\u0026eta;\u0026tau;ή\u0026mu;\u0026alpha;\u0026tau;\u0026alpha; \u0026tau;\u0026eta;\u0026sigmaf; \u0026omicron;\u0026iota;\u0026kappa;\u0026omicron;\u0026lambda;\u0026omicron;\u0026gamma;ί\u0026alpha;\u0026sigmaf;, \u0026tau;\u0026eta;\u0026sigmaf; \u0026pi;\u0026epsilon;\u0026rho;\u0026iota;\u0026beta;\u0026alpha;\u0026lambda;\u0026lambda;\u0026omicron;\u0026nu;\u0026tau;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026pi;\u0026omicron;\u0026lambda;\u0026iota;\u0026tau;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta;\u0026sigmaf; \u0026rho;ύ\u0026pi;\u0026alpha;\u0026nu;\u0026sigma;\u0026eta;\u0026sigmaf;, \u0026tau;\u0026alpha; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026alpha; \u0026kappa;\u0026upsilon;\u0026rho;\u0026iota;\u0026alpha;\u0026rho;\u0026chi;\u0026omicron;ύ\u0026sigma;\u0026alpha;\u0026nu; \u0026sigma;\u0026tau;\u0026eta; \u0026delta;\u0026eta;\u0026mu;ό\u0026sigma;\u0026iota;\u0026alpha; \u0026sigma;\u0026phi;\u0026alpha;ί\u0026rho;\u0026alpha; \u0026sigma;\u0026tau;\u0026alpha; \u0026tau;έ\u0026lambda;\u0026eta; \u0026tau;\u0026eta;\u0026sigmaf; \u0026delta;\u0026epsilon;\u0026kappa;\u0026alpha;\u0026epsilon;\u0026tau;ί\u0026alpha;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; 1960.\u003c/p\u003e\r\n","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":"Guy Mees","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/000/000/624/large/Mees,%20Guy,%20Water%20te%20water,%201970%20scan.jpg?1302191148","poster_credits":"(c)image: ICC Archive ","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eAround 1970 Guy Mees experimented with performance and video. During that period, Mees performed \u003cem\u003eWater te Water\u003c/em\u003e (Water to Water), a performance in which he translated his homeopathic visual language into an ecological and environmental gesture. Mees let a clear plastic globe filled with clean water drift on the polluted Gent-Terneuzen canal. The performance informed a poetic though thought-provoking commentary on the issues related to ecology, environmental policy and pollution that started to gain public attention in the late 1960s.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eRond 1970 experimenteerde Guy Mees met performance en video. In die periode doet Mees de performance \u003cem\u003eWater te Water\u003c/em\u003e, waarin hij zijn homeopatische beeldtaal vertaalt in een ecologische en milieupolitieke geste. Mees laat een heldere plastic bol gevuld met schoon water afdrijven op het vervuilde kanaal Gent-Terneuzen. De performance vormt een po\u0026euml;tische maar schrijnende commentaar op de problemen rond ecologie, milieupolitiek en vervuiling die in de late jaren \u0026#39;60 publiek onder de aandacht kwamen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eVers 1970, Guy Mees exp\u0026eacute;rimente en utilisant la performance et la vid\u0026eacute;o. C\u0026rsquo;est \u0026agrave; cette \u0026eacute;poque que Mees r\u0026eacute;alise sa performance \u003cem\u003eWater te Water\u003c/em\u003e, qui lui permet de traduire son langage symbolique hom\u0026eacute;opathique en un geste \u0026eacute;cologique et politico-environnemental. Mees a fait\u0026nbsp; d\u0026eacute;river une boule\u0026nbsp; transparente en plexiglas remplie d\u0026#39;eau pure sur l\u0026#39;eau pollu\u0026eacute;e du canal Gand-Terneuzen. La performance constitue un commentaire \u0026agrave; la fois po\u0026eacute;tique et acerbe sur les probl\u0026egrave;mes d\u0026#39;\u0026eacute;cologie, de politique environnementale et de pollution auquel le grand public a \u0026eacute;t\u0026eacute; sensibilis\u0026eacute; \u0026agrave; la fin des ann\u0026eacute;es 60.\u003c/p\u003e\r\n"}]},{"id":469,"title":"Verloren ruimte [Lost space]","dimensions":"124 x 223 cm","date_begin":"1985-01-01","material":"paper, pastel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA/ Collection Flemish Community","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK005204","stream_count_app":43,"permalink":"verloren-ruimte-lost-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":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/985/medium_500/BK005204_F001_zonder_kader.jpg?1777031078","cached_actor_names":"Guy Mees","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/000/000/985/large/BK005204_F001_zonder_kader.jpg?1777031078","poster_credits":"© the artist — Photo M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify;\"\u003eMees’s work is systemic, yet the system emerges from within the work itself. The precision of his oeuvre — with interlocking elements from painting, sculpture, and performance, in which colour, texture, and the experience of space are paramount — is\u0026nbsp;of an order that resists verbal definition. In the 1980s, Mees creates works with cut-out pieces of coloured paper, pinned against the wall or another surface like painterly gestures, forming a kind of ‘lost spaces’.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eRead more about this work \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/095/856/original/Guy_Mees_Verloren_ruimte_Lost_Space_1985_1991_EN.pdf?1778247695\"\u003ehere\u003c/a\u003e.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp style=\"text-align:justify;\"\u003eHet werk van Mees is systemisch, maar het systeem ontstaat in\u0026nbsp;het werk zelf. De nauwkeurigheid van zijn oeuvre — met in elkaar grijpende elementen uit de schilderkunst, beeldhouwkunst en performance, waarin de belangrijkheid van kleur, textuur en de ervaring van de ruimte primeren — is van een orde die zich niet in woorden laat definiëren. In de jaren 80 creëert Mees werken met knipsels van gekleurd papier, als schildersgebaren, tegen de muur of een andere drager gespeld, als een soort ‘verloren ruimtes’.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eOntdek meer over dit werk \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/095/854/original/Guy_Mees_Verloren_ruimte_1985_1991_NL.pdf?1778245503\"\u003ehier\u003c/a\u003e.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eL'œuvre de Mees est systémique, mais le système naît dans l'œuvre elle-même. La précision de son œuvre — où s'entremêlent des éléments issus de la peinture, de la sculpture et de la performance, et où priment l'importance de la couleur, de la texture et de l'expérience de l'espace — relève d'un ordre qui ne se laisse pas définir par des mots. Dans les années 80, Mees crée des œuvres à partir de découpes de papier coloré, telles des gestes picturaux, épinglées au mur ou sur un autre support, formant une sorte d’« espaces perdus ».\u003c/p\u003e\u003cp\u003eCliquez \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/095/857/original/Guy_Mees_Verloren_ruimte_Espace_perdu_1985_1991_FR.pdf?1778251796\"\u003eici\u003c/a\u003e pour en savoir plus sur cette œuvre.\u003c/p\u003e"}]},{"id":5370,"title":"Zonder titel [Untitled]","dimensions":"","date_begin":"1962-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"zonder-titel-untitled--62","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/000/011/995/large/Mees__Guy__Zonder_Titel__1962_prive_collectie_Antwerpen.jpg?1346152237","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThe early work of Guy Mees seems allied to tendencies such as monochromy, mati\u0026egrave;re and assemblage, but from the very outset possesses a headstrong, subtle and spiritual tone, not devoid of pointed humour. Like in the metaphorical use of lace, the most exemplary of folkloric products. This work presages his later experiments with light and the minimal coloured interventions in space for which he is renowned.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eHet vroege werk van Guy Mees lijkt aan te sluiten bij tendensen zoals monochromie, mati\u0026egrave;re en assemblage, maar heeft van meet af aan een eigenzinnige, subtiele en spirituele toon die niet vrij is van relativerende humor. Zoals in het oneigenlijke gebruik van kant, folkloristisch product bij uitstek. Dit werk wijst vooruit naar zijn latere experimenten met licht en de minimale gekleurde ingrepen in de ruimte waarvoor hij bekend is.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":5727,"title":"Portretten [Portraits]","dimensions":"00:03:00","date_begin":"1971-01-01","material":"16 mm film, b/w, sound","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":182,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK007309","stream_count_app":23,"permalink":"portretten-portraits--2","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":"Guy Mees","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/000/013/053/large/Mees__Guy___portretten__1971__filmstill__01.JPG?1350998513","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5726,"title":"Imaginair Ballet [Imaginary Ballet]","dimensions":"ca. 300 x 600 cm","date_begin":"1998-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eFR\u003c/strong\u003e - Guy Mees est issu d\u0026rsquo;une g\u0026eacute;n\u0026eacute;ration d\u0026rsquo;artistes qui ont donn\u0026eacute; forme \u0026agrave; leur processus de pens\u0026eacute;e \u0026agrave; l\u0026rsquo;\u0026eacute;poque du mouvement Z\u0026eacute;ro. Ce groupe s\u0026rsquo;est coup\u0026eacute; des conventions existantes pour rechercher un nouveau langage plastique. La m\u0026eacute;thode de l\u0026rsquo;oubli et de la non conformit\u0026eacute;, a g\u0026eacute;n\u0026eacute;r\u0026eacute; de nouvelles id\u0026eacute;es qui ont \u0026eacute;galement marqu\u0026eacute; l\u0026rsquo;\u0026oelig;uvre de Mees. Il utilisait diff\u0026eacute;rents m\u0026eacute;dias pour obtenir ce postulat. Cependant, pour \u0026eacute;clectiques qu\u0026rsquo;elles soient, ses \u0026oelig;uvres d\u0026eacute;notent toujours une dialectique personnelle avec l\u0026rsquo;art. Mees semble vouloir ouvrir la peinture, la remettre en question et exp\u0026eacute;rimenter. Au cours de ses derni\u0026egrave;res ann\u0026eacute;es d\u0026rsquo;activit\u0026eacute;, l\u0026rsquo;artiste formulait son message artistique de mani\u0026egrave;re moins abstraite. Donc ici aussi, son \u0026oelig;uvre offre une lecture figurative. Mees a notamment d\u0026eacute;coup\u0026eacute; du papier de couleur et l\u0026rsquo;a suspendu au mur, dans un rythme ludique. Si l\u0026rsquo;on consid\u0026egrave;re le titre, il est \u0026eacute;vident qu\u0026rsquo;il s\u0026rsquo;agit ici de petites jupettes et de v\u0026ecirc;tements l\u0026eacute;gers. Guy Mees a toujours \u0026eacute;t\u0026eacute; un partisan de l\u0026rsquo;id\u0026eacute;e que l\u0026rsquo;art peut \u0026ecirc;tre lu sans toutes ces explications \u0026agrave; n\u0026rsquo;en plus finir. Il est \u0026eacute;vident qu\u0026rsquo;il essaie de nous dire quelque chose. On d\u0026eacute;couvre une journ\u0026eacute;e de printemps ensoleill\u0026eacute;e o\u0026ugrave; les v\u0026ecirc;tements des petites filles prennent des couleurs florales. Un ballet imaginaire qui se d\u0026eacute;ploie sous nos yeux.\u003c/p\u003e\r\n","date_end":null,"reference":"BK7206","stream_count_app":36,"permalink":"imaginair-ballet-imaginary-ballet","description_ru":"","description_de":"","description_es":"","description_el":"\u003cp style=\"text-align: justify;\"\u003e\u0026Omicron; \u0026Gamma;\u0026kappa;\u0026iota; \u0026Mu;\u0026epsilon;\u0026sigmaf; \u0026epsilon;\u0026pi;\u0026eta;\u0026rho;\u0026epsilon;ά\u0026zeta;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026alpha;\u0026pi;ό \u0026mu;\u0026iota;\u0026alpha; \u0026gamma;\u0026epsilon;\u0026nu;\u0026iota;ά \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;\u0026epsilon;\u0026chi;\u0026nu;ώ\u0026nu; \u0026pi;\u0026omicron;\u0026upsilon; \u0026delta;\u0026iota;\u0026alpha;\u0026mu;\u0026omicron;\u0026rho;\u0026phi;ώ\u0026theta;\u0026eta;\u0026kappa;\u0026epsilon; \u0026mu;έ\u0026sigma;\u0026alpha; \u0026sigma;\u0026tau;\u0026omicron; \u0026kappa;ί\u0026nu;\u0026eta;\u0026mu;\u0026alpha; Nul (\u0026Mu;\u0026eta;\u0026delta;έ\u0026nu;). \u0026Alpha;\u0026upsilon;\u0026tau;ή \u0026eta; \u0026omicron;\u0026mu;ά\u0026delta;\u0026alpha; \u0026alpha;\u0026nu;\u0026tau;έ\u0026delta;\u0026rho;\u0026alpha;\u0026sigma;\u0026epsilon; \u0026sigma;\u0026tau;\u0026iota;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026theta;\u0026iota;\u0026epsilon;\u0026rho;\u0026omega;\u0026mu;έ\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026sigma;\u0026upsilon;\u0026mu;\u0026beta;ά\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026alpha;\u0026nu;\u0026alpha;\u0026zeta;ή\u0026tau;\u0026eta;\u0026sigma;\u0026epsilon; έ\u0026nu;\u0026alpha; \u0026nu;έ\u0026omicron; \u0026omicron;\u0026pi;\u0026tau;\u0026iota;\u0026kappa;ό \u0026iota;\u0026delta;ί\u0026omega;\u0026mu;\u0026alpha;. \u0026Eta; \u0026mu;έ\u0026theta;\u0026omicron;\u0026delta;\u0026omicron;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026lambda;ή\u0026theta;\u0026eta;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta;\u0026sigmaf; \u0026alpha;\u0026nu;\u0026upsilon;\u0026pi;\u0026alpha;\u0026kappa;\u0026omicron;ή\u0026sigmaf; \u0026gamma;έ\u0026nu;\u0026nu;\u0026eta;\u0026sigma;\u0026epsilon; \u0026nu;έ\u0026epsilon;\u0026sigmaf; \u0026iota;\u0026delta;έ\u0026epsilon;\u0026sigmaf;, \u0026pi;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026alpha;\u0026rho;\u0026pi;\u0026omicron;\u0026phi;ό\u0026rho;\u0026eta;\u0026sigma;\u0026alpha;\u0026nu; \u0026kappa;\u0026alpha;\u0026iota; \u0026sigma;\u0026tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Mu;\u0026epsilon;\u0026sigmaf;. \u0026Chi;\u0026rho;\u0026eta;\u0026sigma;\u0026iota;\u0026mu;\u0026omicron;\u0026pi;\u0026omicron;ί\u0026eta;\u0026sigma;\u0026epsilon; \u0026pi;\u0026omicron;\u0026lambda;\u0026lambda;ά \u0026kappa;\u0026alpha;\u0026iota; \u0026delta;\u0026iota;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ά \u0026mu;έ\u0026sigma;\u0026alpha; \u0026gamma;\u0026iota;\u0026alpha; \u0026nu;\u0026alpha; \u0026kappa;\u0026alpha;\u0026tau;\u0026alpha;\u0026lambda;ή\u0026xi;\u0026epsilon;\u0026iota; \u0026sigma;\u0026epsilon; \u0026alpha;\u0026upsilon;\u0026tau;ή \u0026tau;\u0026eta; \u0026sigma;\u0026tau;ά\u0026sigma;\u0026eta;. \u0026Pi;\u0026alpha;\u0026rho;\u0026#39; ό\u0026lambda;\u0026alpha; \u0026alpha;\u0026upsilon;\u0026tau;ά, ό\u0026sigma;\u0026omicron; \u0026pi;\u0026omicron;\u0026lambda;\u0026upsilon;\u0026pi;\u0026omicron;ί\u0026kappa;\u0026iota;\u0026lambda;\u0026omicron; \u0026kappa;\u0026iota; \u0026alpha;\u0026nu; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon;, \u0026pi;ά\u0026nu;\u0026tau;\u0026omicron;\u0026tau;\u0026epsilon; \u0026delta;\u0026iota;\u0026alpha;\u0026kappa;\u0026rho;ί\u0026nu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026mu;\u0026iota;\u0026alpha; \u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026omega;\u0026pi;\u0026iota;\u0026kappa;ή \u0026delta;\u0026iota;\u0026alpha;\u0026lambda;\u0026epsilon;\u0026kappa;\u0026tau;\u0026iota;\u0026kappa;ή \u0026mu;\u0026epsilon; \u0026alpha;\u0026nu;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;ά \u0026sigma;\u0026tau;\u0026eta; \u0026zeta;\u0026omega;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;\u0026iota;\u0026kappa;ή. \u0026Omicron; \u0026Mu;\u0026epsilon;\u0026sigmaf; \u0026mu;\u0026omicron;\u0026iota;ά\u0026zeta;\u0026epsilon;\u0026iota; \u0026nu;\u0026alpha; \u0026theta;έ\u0026lambda;\u0026epsilon;\u0026iota; \u0026nu;\u0026alpha; \u0026sigma;\u0026pi;ά\u0026sigma;\u0026epsilon;\u0026iota; \u0026tau;\u0026omicron; \u0026kappa;έ\u0026lambda;\u0026upsilon;\u0026phi;\u0026omicron;\u0026sigmaf; \u0026tau;\u0026eta;\u0026sigmaf; \u0026zeta;\u0026omega;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026gamma;\u0026iota;\u0026alpha; \u0026nu;\u0026alpha; \u0026tau;\u0026eta;\u0026nu; \u0026delta;\u0026iota;\u0026epsilon;\u0026rho;\u0026epsilon;\u0026upsilon;\u0026nu;ή\u0026sigma;\u0026epsilon;\u0026iota; \u0026kappa;\u0026alpha;\u0026iota; \u0026nu;\u0026alpha; \u0026tau;\u0026eta; \u0026mu;\u0026epsilon;\u0026lambda;\u0026epsilon;\u0026tau;ή\u0026sigma;\u0026epsilon;\u0026iota;. \u0026Tau;\u0026alpha; \u0026tau;\u0026epsilon;\u0026lambda;\u0026epsilon;\u0026upsilon;\u0026tau;\u0026alpha;ί\u0026alpha; \u0026chi;\u0026rho;ό\u0026nu;\u0026iota;\u0026alpha;, \u0026omicron; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf; \u0026delta;\u0026iota;\u0026alpha;\u0026tau;\u0026upsilon;\u0026pi;ώ\u0026nu;\u0026epsilon;\u0026iota; \u0026tau;\u0026omicron; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;\u0026epsilon;\u0026chi;\u0026nu;\u0026iota;\u0026kappa;ό \u0026tau;\u0026omicron;\u0026upsilon; \u0026mu;ή\u0026nu;\u0026upsilon;\u0026mu;\u0026alpha; \u0026mu;\u0026epsilon; έ\u0026nu;\u0026alpha;\u0026nu; \u0026tau;\u0026rho;ό\u0026pi;\u0026omicron; \u0026lambda;\u0026iota;\u0026gamma;ό\u0026tau;\u0026epsilon;\u0026rho;\u0026omicron; \u0026alpha;\u0026phi;\u0026alpha;\u0026iota;\u0026rho;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ό. Ό\u0026pi;\u0026omega;\u0026sigmaf; \u0026iota;\u0026sigma;\u0026chi;ύ\u0026epsilon;\u0026iota; \u0026kappa;\u0026alpha;\u0026iota; \u0026epsilon;\u0026delta;ώ, \u0026tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; έ\u0026chi;\u0026epsilon;\u0026iota; \u0026mu;\u0026iota;\u0026alpha; \u0026pi;\u0026alpha;\u0026rho;\u0026alpha;\u0026sigma;\u0026tau;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ή \u0026alpha;\u0026nu;\u0026alpha;\u0026gamma;\u0026nu;\u0026omega;\u0026sigma;\u0026iota;\u0026mu;ό\u0026tau;\u0026eta;\u0026tau;\u0026alpha;. \u0026Omicron; \u0026Mu;\u0026epsilon;\u0026sigmaf; έ\u0026chi;\u0026epsilon;\u0026iota; \u0026kappa;ό\u0026psi;\u0026epsilon;\u0026iota; \u0026chi;\u0026rho;\u0026omega;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026sigma;\u0026tau;ό \u0026chi;\u0026alpha;\u0026rho;\u0026tau;ί \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron; έ\u0026chi;\u0026epsilon;\u0026iota; \u0026kappa;\u0026rho;\u0026epsilon;\u0026mu;ά\u0026sigma;\u0026epsilon;\u0026iota; \u0026sigma;\u0026tau;\u0026omicron;\u0026nu; \u0026tau;\u0026omicron;ί\u0026chi;\u0026omicron;, \u0026sigma;\u0026epsilon; έ\u0026nu;\u0026alpha; \u0026rho;\u0026upsilon;\u0026theta;\u0026mu;\u0026iota;\u0026kappa;ό \u0026pi;\u0026alpha;\u0026iota;\u0026chi;\u0026nu;ί\u0026delta;\u0026iota;. \u0026Lambda;\u0026alpha;\u0026mu;\u0026beta;ά\u0026nu;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026sigmaf; \u0026upsilon;\u0026pi;ό\u0026psi;\u0026eta; \u0026tau;\u0026omicron;\u0026nu; \u0026tau;ί\u0026tau;\u0026lambda;\u0026omicron;, \u0026phi;\u0026alpha;ί\u0026nu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026alpha;\u0026nu;\u0026alpha;\u0026mu;\u0026phi;\u0026iota;\u0026sigma;\u0026beta;ή\u0026tau;\u0026eta;\u0026tau;\u0026omicron; ό\u0026tau;\u0026iota; \u0026tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026alpha;\u0026nu;\u0026alpha;\u0026phi;έ\u0026rho;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026sigma;\u0026epsilon; \u0026phi;\u0026omicron;\u0026rho;έ\u0026mu;\u0026alpha;\u0026tau;\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota; \u0026alpha;έ\u0026rho;\u0026iota;\u0026nu;\u0026alpha; \u0026epsilon;\u0026nu;\u0026delta;ύ\u0026mu;\u0026alpha;\u0026tau;\u0026alpha;. \u0026Omicron; \u0026Gamma;\u0026kappa;\u0026iota; \u0026Mu;\u0026epsilon;\u0026sigmaf; \u0026alpha;\u0026nu;έ\u0026kappa;\u0026alpha;\u0026theta;\u0026epsilon;\u0026nu; \u0026upsilon;\u0026pi;\u0026omicron;\u0026sigma;\u0026tau;ή\u0026rho;\u0026iota;\u0026zeta;\u0026epsilon; \u0026tau;\u0026eta;\u0026nu; \u0026iota;\u0026delta;έ\u0026alpha; ό\u0026tau;\u0026iota; \u0026eta; \u0026tau;έ\u0026chi;\u0026nu;\u0026eta; \u0026mu;\u0026pi;\u0026omicron;\u0026rho;\u0026epsilon;ί \u0026nu;\u0026alpha; \u0026kappa;\u0026alpha;\u0026tau;\u0026alpha;\u0026nu;\u0026omicron;\u0026eta;\u0026theta;\u0026epsilon;ί \u0026chi;\u0026omega;\u0026rho;ί\u0026sigmaf; \u0026alpha;\u0026tau;έ\u0026rho;\u0026mu;\u0026omicron;\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026epsilon;\u0026xi;\u0026eta;\u0026gamma;ή\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf;. \u0026Epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026pi;\u0026rho;\u0026omicron;\u0026phi;\u0026alpha;\u0026nu;έ\u0026sigmaf; ό\u0026tau;\u0026iota; \u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026pi;\u0026alpha;\u0026theta;\u0026epsilon;ί \u0026nu;\u0026alpha; \u0026kappa;ά\u0026nu;\u0026epsilon;\u0026iota; \u0026kappa;ά\u0026tau;\u0026iota; \u0026sigma;\u0026alpha;\u0026phi;έ\u0026sigmaf; \u0026sigma;\u0026epsilon; \u0026mu;\u0026alpha;\u0026sigmaf;. \u0026Beta;\u0026lambda;έ\u0026pi;\u0026omicron;\u0026upsilon;\u0026mu;\u0026epsilon; \u0026mu;\u0026iota;\u0026alpha; \u0026eta;\u0026lambda;\u0026iota;ό\u0026lambda;\u0026omicron;\u0026upsilon;\u0026sigma;\u0026tau;\u0026eta; \u0026alpha;\u0026nu;\u0026omicron;\u0026iota;\u0026xi;\u0026iota;ά\u0026tau;\u0026iota;\u0026kappa;\u0026eta; \u0026mu;έ\u0026rho;\u0026alpha;, \u0026kappa;\u0026alpha;\u0026tau;ά \u0026tau;\u0026eta;\u0026nu; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026alpha; \u0026tau;\u0026alpha; \u0026rho;\u0026omicron;ύ\u0026chi;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026omicron;\u0026rho;\u0026iota;\u0026tau;\u0026sigma;\u0026iota;\u0026omicron;ύ \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026tau;\u0026rho;έ\u0026pi;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026sigma;\u0026epsilon; \u0026alpha;\u0026nu;\u0026theta;\u0026eta;\u0026rho;ά \u0026chi;\u0026rho;ώ\u0026mu;\u0026alpha;\u0026tau;\u0026alpha;. Έ\u0026nu;\u0026alpha; \u003ci\u003eImaginair Ballet\u003c/i\u003e [\u0026Phi;\u0026alpha;\u0026nu;\u0026tau;\u0026alpha;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ό \u0026mu;\u0026pi;\u0026alpha;\u0026lambda;έ\u0026tau;\u0026omicron;] \u0026xi;\u0026epsilon;\u0026tau;\u0026upsilon;\u0026lambda;ί\u0026gamma;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026mu;\u0026pi;\u0026rho;\u0026omicron;\u0026sigma;\u0026tau;ά \u0026sigma;\u0026tau;\u0026alpha; \u0026mu;ά\u0026tau;\u0026iota;\u0026alpha; \u0026mu;\u0026alpha;\u0026sigmaf;.\u003c/p\u003e\r\n","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":"Guy Mees","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/000/011/296/large/BK7206_A.jpg?1343123598","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eGuy Mees comes from a generation of artists who shaped their ideas during the Zero Movement. This group reacted against existing conventions and sought a new visual idiom. The method of forgetting and not conforming generated new insights which also became visible in Mees\u0026rsquo; work. He used various media to arrive at this postulation. Nevertheless, however varied his work may be, a personal dialectic regarding painting is always visible. Mees seems to want to break painting open, to question and examine it. In recent years the artist has appeared to formulate his artistic message in a way that is less abstract. Here too the work has a figurative legibility. Mees has cut the coloured paper and hung it up on the wall like a rhythmic game. Taking the title into account, it seems indisputably to be all about dresses and light clothing. Guy Mees has always supported the idea that art can be interpreted without endless explanations. He is evidently trying to make something clear to us. We see a sunny spring day in which the girl\u0026rsquo;s clothing turns into blossoming colours. It is an imaginary ballet that unfolds before our eyes.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eGuy Mees stamt af van een generatie kunstenaars die ten tijde van de Zero-beweging hun gedachtegoed vorm gaven. Deze groepering zette zich af tegen bestaande conventies en zocht naar een nieuwe beeldtaal. De methode van het vergeten en niet conformeren, zorgde voor nieuwe inzichten die ook in het werk van Mees zichtbaar werden. Hij hanteerde diverse media om dit vooropgestelde te bereiken. Echter, hoe uiteenlopend zijn werken ook zijn, een persoonlijke dialectiek naar schilderkunst lijkt steeds zichtbaar. Mees schijnt de schilderkunst te willen openbreken, in vraag te stellen en te onderzoeken. In zijn laatste werkjaren lijkt de kunstenaar zijn artistieke boodschap minder abstract te formuleren. Zo ook hier krijgt het werk een figuratieve leesbaarheid. Mees heeft namelijk kleurpapier doorknipt en opgehangen als een ritmisch spel op de muur. In associatie met de titel lijkt het onmiskenbaar dat het hier om jurkjes en luchtige kledij gaat, een imaginair ballet dat zich voor onze ogen ontplooit.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eGuy Mees vient d\u0026rsquo;une g\u0026eacute;n\u0026eacute;ration d\u0026rsquo;artistes qui ont cr\u0026eacute;\u0026eacute; leurs id\u0026eacute;es \u0026agrave; l\u0026rsquo;\u0026eacute;poque du mouvement Zero. Ce groupe s\u0026rsquo;est oppos\u0026eacute; aux conventions existantes et cherchait un nouveau langage visuel. La m\u0026eacute;thode de l\u0026rsquo;oubli et de la non-conformit\u0026eacute; a fourni de nouvelles id\u0026eacute;es qui sont devenues visibles dans le travail de Mees. Il utilisait diff\u0026eacute;rents m\u0026eacute;dias pour y parvenir. Cependant, une dialectique personnelle \u0026agrave; la peinture est toujours visible, quoique ses \u0026oelig;uvres soient vari\u0026eacute;s. Il semble que Mees veux ouvrir, interroger et examiner la peinture. Pendant ses derni\u0026egrave;res ann\u0026eacute;es de travail, l\u0026rsquo;artiste semble formuler son message artistique d\u0026rsquo;une mani\u0026egrave;re moins abstraite. Ici aussi, le travail a une lisibilit\u0026eacute; figurative. Mees a d\u0026eacute;coup\u0026eacute; du papier color\u0026eacute; et l\u0026rsquo;accroch\u0026eacute; sur le mur comme un jeu rythmique. En association avec le titre, il est ind\u0026eacute;niable qu\u0026rsquo;il s\u0026rsquo;agit de robes et de v\u0026ecirc;tements l\u0026eacute;gers, un ballet imaginaire qui se d\u0026eacute;ploie sous nos yeux.\u003c/p\u003e\r\n"}]},{"id":594,"title":"Zonder titel ","dimensions":"134.7 x 170.5 x 2.5 cm","date_begin":"1970-01-01","material":"paper, crayon","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eThe work consists of four thin sheets of tissue paper tied together with clear tape on the back. In the paper made ​​a pastel drawing consisting of 5 horizontal dots in strips, in verse different colors: pink, red and brown.\u003c/p\u003e\r\n","date_end":"1970-01-01","reference":"BK7208","stream_count_app":22,"permalink":"untitled--89","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":"Guy Mees","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/000/030/671/large/GuyMeesZonderTitel1970.PNG?1454148329","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eThis work consists of four thin sheets of tissue paper tied together with clear tape on the back. In the paper made ​​a pastel drawing consisting of 5 horizontal dots in strips, in verse different colors: pink, red and brown.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDit werk bestaat uit vier dunne bladen papier, samen gehouden met doorzichtige tape aan de achterkant. Op het papier werd een tekening in pastelkrijt aangebracht, bestaand uit 5 horizontale lijnen bestaand uit puntjes, in de drie kleuren roze, rood en bruin.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":2624,"title":"6 x 4 min. (Portretten) [6 x 4 min. (Portraits)]","dimensions":"00:24:00","date_begin":"1974-01-01","material":"digital betacam, dvd, b/w, sound","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":182,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":1,"collection":"Collection M HKA, Antwerp","cached_tag_list":"video","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK007308","stream_count_app":59,"permalink":"6-x-4-min-portretten-6-x-4-min-portraits","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":"Guy Mees","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/000/004/003/large/Mees,%20Guy,%20Portretten,%201974%205.jpg?1321263389","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThe video breakthrough. Video is the perfect symbol of what for some time have been called the \u0026lsquo;new media\u0026rsquo;, signalling the start of an opening up of the hierarchical structure of the \u0026lsquo;old media\u0026rsquo; which was to lead to the present \u0026lsquo;e-culture\u0026rsquo;. The first system, called \u0026lsquo;Phonovision\u0026rsquo;, goes back to the 1920s. The first TV pictures were stored on ordinary gramophone records. In Belgium, the ICC was one of the first places where video art was shown. The ICC was an international avant-garde arts centre set up by the then new Flemish Community in 1970. This is the institution from which the M HKA emerged. In addition, in 1974 Flor Bex set up the first Belgian video studio for artists, called \u0026lsquo;Continental Video\u0026rsquo;. A cinema was opened in an old bus, and this \u0026lsquo;mobile museum for modern media\u0026rsquo; was able to take the new art out to the people.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eVideo als doorbraak. Video is het symbool bij uitstek voor wat lang \u0026lsquo;nieuwe media\u0026rsquo; werd genoemd, het begin van het openen van de hi\u0026euml;rarchische structurering van de \u0026lsquo;oude media\u0026rsquo; die tot de huidige e-cultuur zou leiden. Het eerste systeem, \u0026lsquo;Phonovision\u0026rsquo;, gaat terug tot de jaren \u0026rsquo;20. De eerste TV beelden werden opgeslagen op gewone grammofoonplaten. In Belgi\u0026euml; was het ICC \u0026eacute;\u0026eacute;n van de eerste plekken waar videokunst werd getoond. Het ICC was een internationaal avant-garde kunstencentrum dat in 1970 door de jonge Vlaamse Gemeenschap werd opgericht. Het is de instelling waaruit het M HKA voortkomt. In 1974 richtte Flor Bex daar bovendien de eerste Belgische videostudio \u0026lsquo;Continental Video\u0026rsquo; voor kunstenaars op. In een oude bus was een cinema ingericht, zodat dit \u0026lsquo;mobiel museum voor moderne media\u0026rsquo; de nieuwe kunst bij de mensen kon brengen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLa vid\u0026eacute;o en tant que perc\u0026eacute;e. La vid\u0026eacute;o est le symbole par excellence de ce qui a longtemps \u0026eacute;t\u0026eacute; qualifi\u0026eacute; de \u0026laquo; nouveau m\u0026eacute;dia \u0026raquo;. Elle a amorc\u0026eacute; l\u0026rsquo;ouverture de la structuration hi\u0026eacute;rarchique des \u0026laquo; anciens m\u0026eacute;dias \u0026raquo; qui a men\u0026eacute; \u0026agrave; la culture \u0026eacute;lectronique actuelle, ou \u0026laquo; e-culture \u0026raquo;. Le premier syst\u0026egrave;me, la \u0026laquo; phonovision \u0026raquo;, remonte aux ann\u0026eacute;es 20. Les premi\u0026egrave;res images t\u0026eacute;l\u0026eacute;vis\u0026eacute;es \u0026eacute;taient stock\u0026eacute;es sur de simples disques microsillons. En Belgique, l\u0026rsquo;ICC \u0026ndash; un centre d\u0026rsquo;art international d\u0026rsquo;avant-garde fond\u0026eacute; au d\u0026eacute;but des ann\u0026eacute;es 70 par la Communaut\u0026eacute; flamande et qui donnerait ensuite naissance au M HKA \u0026ndash; \u0026eacute;tait l\u0026rsquo;un des premiers lieux \u0026agrave; montrer de l\u0026rsquo;art vid\u0026eacute;o. En 1974, Flor Bex, qui dirigeait le centre, y a cr\u0026eacute;\u0026eacute; le premier atelier vid\u0026eacute;o du pays, Continental Video. Dans un vieil autobus, il avait fait am\u0026eacute;nager un cin\u0026eacute;ma, afin de disposer d\u0026rsquo;un \u0026laquo; mus\u0026eacute;e mobile pour les m\u0026eacute;dias contemporains \u0026raquo; qui pourrait porter l\u0026rsquo;art nouveau vers le public.\u003c/p\u003e\r\n"}]},{"id":239,"title":"Zonder titel (Trap) [Untitled (Stairs)]","dimensions":"00:01:00","date_begin":"1970-01-01","material":"16mm film","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":182,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eb/w\u003c/p\u003e\r\n","date_end":null,"reference":"UFO2008_008","stream_count_app":35,"permalink":"zonder-titel-trap-untitled-stairs","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":"Guy Mees","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/000/000/318/large/Mees,%20Guy,%200020%20Z.T.%20%28trap%29,%201970%20%20filmstill%20%2004.jpg?1300698757","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eA person is coming down and going up the stairs. Each direction of movement is equal. Guy Mees offers a possibility of transcendence and tonality. This clear gesture (within formal and visual precision) reflects on the economy of the artist\u0026#39;s needs; a celebration of a formal low level modesty and a transient and ephemeral quality, a research on painting and art systems through color, shape and material.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEen persoon komt naar beneden en gaat opnieuw de trap op. Elke bewegingsrichting is gelijk. Guy Mees biedt een mogelijkheid van transcendentie en tonaliteit. Dit duidelijk gebaar (binnen formele en visuele precisie) reflecteert op schaarse behoeften van de kunstenaar, een viering van een formele bescheidenheid en een vergankelijke en ephemere kwaliteit, een onderzoek naar de schilderkunst en kunst-systemen door middel van kleur, vorm en materiaal.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":51,"title":"Espace Perdu [Lost space]","dimensions":"124 x 136 x 51 cm","date_begin":"1964-01-01","material":"neon, lace","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK6078","stream_count_app":57,"permalink":"espace-perdu-lost-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":"Guy Mees","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/000/005/954/large/Mees,Guy,%20%20Verloren%20ruimte,1964_2.jpg?1326970431","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eLost space\u0026nbsp;\u003c/em\u003erefers to individual works as well as to a bigger ensemble of works by Mees. They are divided in two groups: firstly, a group of works made with lace \u0026ndash; at times also combined with neon lights -, made between 1960 and 1966. And secondly, still under the same title, works made in the eighties, made with colour paper pinned to the wall as relief\u0026rsquo;s. The \u0026#39;lost space\u0026#39; from the title is that of the painting. It is a space which does not exist anymore, disintegrated to make place for a new kind of space. Mees\u0026rsquo; works leave the wall and dialogue with their surroundings, as if they could emphasize the wall which is left behind.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eVerloren ruimte\u003c/em\u003e\u0026nbsp;verwijst naar specifieke werken \u0026eacute;n naar een groter geheel van werken. In dat grotere geheel zijn twee groepen te onderscheiden. Als eerste is er een groep werken met kant, al of niet in combinatie met neonlicht, ontstaan tussen 1960 en 1966. De tweede groep werken met diezelfde titel, ontstaan vanaf de jaren tachtig, is gemaakt met gekleurde stroken papier die als wandreli\u0026euml;fs op de muur vastgespeld worden. De \u0026lsquo;ruimte\u0026rsquo; die \u0026lsquo;verloren\u0026rsquo; is, is die van het schilderij. Die ruimte bestaat niet meer, ze wordt opengebroken om plaats te maken voor een nieuwe ruimte. Zijn werken komen los van de wand en gaan in dialoog met de omgeving, met de ruimte waarin ze zich bevinden. Ze \u0026lsquo;tonen\u0026rsquo; de achterliggende wand. Als een barst in de muur zetten ze hun omgeving in de verf, laten ze de muur en de ruimte rondom duidelijker zien.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":19942,"title":"Verloren ruimte","dimensions":"116 x 288 cm (framed)","date_begin":"1988-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"M HKA/ Collection Flemish Community","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eGuy Mees uses various types of paper, newsprint, textiles, and even canvas and aluminium foil from time to time. Sometimes it is only the shadows cast that suggest that the bands of colour have been neither painted nor glued. Paper surfaces differing in width and shape create an illusion of depth that arises from the effect of the colours banded opposite one another. From 1983 onwards, the partially open compositions consisting of various clippings are gradually simplified into uni-coloured clippings.\u003c/p\u003e\u003cp\u003eGuy Mees gebruikt diverse papiersoorten, krantenpapier, textiel, soms zelf schilderdoek en aluminiumfolie. Soms merkt men enkel\u0026nbsp; aan slagschaduwen dat het geen geschilderde of gekleefde kleurenbanen zijn. De papiervlakken van verschillende breedte en vorm creëren door de werking van de kleuren tegenover elkaar een illusie van diepte. Vanaf 1983 worden de gedeeltelijk open, uit verschillende knipsels bestaande composities gaandeweg vereenvoudigd tot éénkleurige knipsels\u003c/p\u003e","date_end":null,"reference":"BK006928","stream_count_app":38,"permalink":"verloren-ruimte-cf4bb26d-fe44-4983-8b36-d11d5b63d898","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":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/456/medium_500/BK_6928_Mees_-_Verloren_ruimte_1988.jpg?1533738831","cached_actor_names":"Guy Mees","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/000/041/456/large/BK_6928_Mees_-_Verloren_ruimte_1988.jpg?1533738831","poster_credits":"© The Estate of Guy Mees — photo: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify;\"\u003eMees’s work is systemic, yet the system emerges from within the work itself. The precision of his oeuvre — with interlocking elements from painting, sculpture, and performance, in which colour, texture, and the experience of space are paramount — is\u0026nbsp;of an order that resists verbal definition. In the 1980s, Mees creates works with cut-out pieces of coloured paper, pinned against the wall or another surface like painterly gestures, forming a kind of ‘lost spaces’.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eRead more about this work \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/095/856/original/Guy_Mees_Verloren_ruimte_Lost_Space_1985_1991_EN.pdf?1778247695\"\u003ehere\u003c/a\u003e.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp style=\"text-align:justify;\"\u003eHet werk van Mees is systemisch, maar het systeem ontstaat in\u0026nbsp;het werk zelf. De nauwkeurigheid van zijn oeuvre — met in elkaar grijpende elementen uit de schilderkunst, beeldhouwkunst en performance, waarin de belangrijkheid van kleur, textuur en de ervaring van de ruimte primeren — is van een orde die zich niet in woorden laat definiëren. In de jaren 80 creëert Mees werken met knipsels van gekleurd papier, als schildersgebaren, tegen de muur of een andere drager gespeld, als een soort ‘verloren ruimtes’.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eOntdek meer over dit werk \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/095/854/original/Guy_Mees_Verloren_ruimte_1985_1991_NL.pdf?1778245503\"\u003ehier\u003c/a\u003e.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eL'œuvre de Mees est systémique, mais le système naît dans l'œuvre elle-même. La précision de son œuvre — où s'entremêlent des éléments issus de la peinture, de la sculpture et de la performance, et où priment l'importance de la couleur, de la texture et de l'expérience de l'espace — relève d'un ordre qui ne se laisse pas définir par des mots. Dans les années 80, Mees crée des œuvres à partir de découpes de papier coloré, telles des gestes picturaux, épinglées au mur ou sur un autre support, formant une sorte d’« espaces perdus ».\u003c/p\u003e\u003cp\u003eCliquez \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/095/857/original/Guy_Mees_Verloren_ruimte_Espace_perdu_1985_1991_FR.pdf?1778251796\"\u003eici\u003c/a\u003e pour en savoir plus sur cette œuvre.\u003c/p\u003e"}]},{"id":20106,"title":"GA - Tijdschrift van de Galerij van de Akademie Van Waasmunster, Jrg.9, nr.2, 1 maart 1990","dimensions":"57.7 x 41.7 cm, 2 p., ill., language : Dutch, publisher : Galerij van de Akademie Van Waasmunster","date_begin":"1990-01-01","material":"Ink, paper","short_description":"\u003cp\u003eOverzicht artikelen :\u003c/p\u003e\r\n\r\n\u003cp\u003e- Nanook of the North, de film van Robert Flaherty (Filmvoorstelling vrijdag 16 maart 1990\u003c/p\u003e\r\n\r\n\u003cp\u003e-Tentoonstelling Guy Mees, werken 1960-1974 (met projectie van de films \u0026#39;Portretten, 1970, 3mntn.\u0026#39; en \u0026#39;Portretten, 1974, 3mntn.)\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":59,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA,  Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"T \u0026 P/GA - Tijdschrift van de Galerij van de Akademie Van Waasmunster","stream_count_app":15,"permalink":"ga-tijdschrift-van-de-galerij-van-de-akademie-van-waasmunster-jrg-9-nr-2-1-maart-1990","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/000/043/123/medium_500/Image00080.jpg?1546513862","cached_actor_names":"Wilfried Huet, Guy Mees, Robert Flaherty ","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/000/043/123/large/Image00080.jpg?1546513862","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5725,"title":"Plint [Plinth]","dimensions":"130.6 x 91.2 cm","date_begin":"1992-01-01","material":"paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"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":"BK005972","stream_count_app":30,"permalink":"plint-plinth","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":"Guy Mees","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/000/013/054/large/Mees__Guy__Verloren_Ruimte__plint__photo_clinckx.jpg?1350998722","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eIn de loop van de jaren 1980 maakt Guy Mees een reeks plint-installaties in zijn eigen huis en in tentoonstellingsruimtes. Soms voert hij het inkleuren van de plinten in de ruimtes zelf uit, andere keren kleurt hij op zwart-wit foto\u0026rsquo;s van kamers de plinten met krijt in. Als een huisschilder verft hij onderaan op de muur, tegelijk als een begrenzing van de vloer, een gekleurde band, waardoor het doosvormige volume van de ruimte wordt benadrukt. De plint-installaties kaderen in het onderzoek van de kunstenaar naar het begrip \u0026lsquo;ruimte\u0026rsquo;. Guy Mees wil met het beschilderen van de plinten de grenzen van de schilder- en de beeldhouwkunst doorbreken en een symbiose cre\u0026euml;ren met architectuur en leefsituaties. Een utilitair \u0026eacute;n decoratief element wordt drager van een gebouw. Met de beschilderde plinten legt hij het accent op de architectuur, op de constructie van de ruimte. De gekleurde plint tilt de ruimte op: plots wordt de ruimte op een andere manier zichtbaar, duikt ze op een andere manier op in de blik van de toeschouwer.\u003c/p\u003e\r\n\r\n\u003cp\u003eOp basis van deze heel eenvoudige ingreep wordt de toeschouwer zich bewust van de begrenzingen van de ruimte en wordt hij tegelijk verleid in een spel van strakke lijnen waarin kleur een zeer esthetische rol speelt. De ruimte wordt picturaal gemaakt. Bovendien destabiliseert de kunstenaar de ruimte. De muren worden door deze ingreep sculpturale volumes. De muur wordt hier een zware massa, die door de lichte, speelse ingreep opnieuw aan zijn begrenzing wordt herinnerd. De ruimte kan op een andere manier worden waargenomen en begrepen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDans le courant des ann\u0026eacute;es 1980, Guy Mees a r\u0026eacute;alis\u0026eacute; une s\u0026eacute;rie d\u0026#39;installations de plinthes dans sa propre maison et dans des espaces d\u0026#39;exposition. Parfois, il se charge de la coloration des plinthes dans les pi\u0026egrave;ces lui-m\u0026ecirc;me, d\u0026#39;autres fois il colore \u0026agrave; la craie les plinthes de photos de pi\u0026egrave;ces en noir et blanc. Comme un peintre en b\u0026acirc;timent, il peint en bas du mur comme une limite du sol, une bande color\u0026eacute;e qui souligne le volume en forme de bo\u0026icirc;te de la pi\u0026egrave;ce. Les installations de plinthes cadrent avec l\u0026#39;\u0026eacute;tude de l\u0026#39;artiste sur la notion \u0026#39;d\u0026#39;espace\u0026#39;. En peignant les plinthes, Guy Mees veut casser les fronti\u0026egrave;res de la peinture et de la sculpture et cr\u0026eacute;er une symbiose avec l\u0026#39;architecture et les situations de la vie. Un \u0026eacute;l\u0026eacute;ment utilitaire et d\u0026eacute;coratif devient un support d\u0026#39;un b\u0026acirc;timent. Avec les plinthes peintes, il met l\u0026#39;accent sur l\u0026#39;architecture, la construction de l\u0026#39;espace. La plinthe color\u0026eacute;e rel\u0026egrave;ve la pi\u0026egrave;ce : soudain, elle devient visible d\u0026#39;une autre mani\u0026egrave;re, elle surgit diff\u0026eacute;remment au regard du spectateur.\u003c/p\u003e\r\n\r\n\u003cp\u003eSur la base de cette action tr\u0026egrave;s simple, le spectateur prend conscience des limites de l\u0026#39;espace et en m\u0026ecirc;me temps, il est s\u0026eacute;duit par un jeu de lignes droites o\u0026ugrave; la couleur jour un r\u0026ocirc;le tr\u0026egrave;s esth\u0026eacute;tique. L\u0026#39;espace devient pictural. De plus, l\u0026#39;artiste d\u0026eacute;stabilise l\u0026#39;espace. Du fait de cette intervention, les murs deviennent des volumes structuraux. Le mur devient ici une masse lourde qui est rappel\u0026eacute; \u0026agrave; sa limite par l\u0026#39;intervention l\u0026eacute;g\u0026egrave;re et ludique. L\u0026#39;espace peut \u0026ecirc;tre observ\u0026eacute; et compris diff\u0026eacute;remment.\u003c/p\u003e\r\n"}]},{"id":31429,"title":"Nieuwe Vlaamse School","dimensions":"2 sides","date_begin":"1961-01-01","material":"Ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Nieuwe Vlaamse School VECU V.E.C.U. Breugelmans Bert De Leeuw Jan Dries Vic Gentils Englebert Van Anderlecht Guy Vandenbranden Paul Van Hoeydonck Nic Van Bruggen","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003c/p\u003e\r\n\r\n\u003cp\u003ePamphlet was printed before, not as exhibition poster.\u003c/p\u003e\r\n","date_end":null,"reference":"JV_53_01","stream_count_app":32,"permalink":"nieuwe-vlaamse-school","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/000/075/817/medium_500/JV_38_01_a.jpg?1637844264","cached_actor_names":"Guy Vandenbranden, Englebert Van Anderlecht, Guy Mees, Nic Klerks, Jef Kersting, Vic Gentils, Jan Dries, Herman  Denkens, Mark Claus, Bert De Leeuw, VECU, Nic van Bruggen, Jef Verheyen","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":null,"poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eNieuwe Vlaamse School\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cul\u003e\r\n\t\u003cli\u003eerkent in zichzelf DEZE vlaamse traditie, dat het universele van de moderniteit in de eigen aard, d.i. de vlaamse, vervat ligt;\u003cbr /\u003e\r\n\t\u0026nbsp;\u003c/li\u003e\r\n\t\u003cli\u003eis zich bewust dat onze oudere vlaamse schildersscholen hun eigen aard door vergelijking met de buitenlandse, d.w.z. andere schilderscholen, vonden en opdrongen;\u003cbr /\u003e\r\n\t\u0026nbsp;\u003c/li\u003e\r\n\t\u003cli\u003eis de overtuiging toegedaan dat de autentieke schilderkunst in wezen nooit formeel of modieus is geweest, maar uiteraard alleen essenti\u0026euml;l, waardoor zij verstaat de essentie niet te verwarren met de tijdelijke mededeling der vroegere meesters;\u003cbr /\u003e\r\n\t\u0026nbsp;\u003c/li\u003e\r\n\t\u003cli\u003ezij erkent derhalve alleen de OVERSCHRIJDENDE instelling van het individu als bepalend voor het avant-gardisme;\u003cbr /\u003e\r\n\t\u0026nbsp;\u003c/li\u003e\r\n\t\u003cli\u003ezij keert zich af van de in Belgi\u0026euml; en in het buitenland opgeldmakende opvatting als zou er een \u0026ldquo;Belgische\u0026rdquo; schilderschool bestaan, een opvatting die een contradictio in terminis insluit;\u003cbr /\u003e\r\n\t\u0026nbsp;\u003c/li\u003e\r\n\t\u003cli\u003evermits Belgisch niet met het Vlaamse autochtone samenvalt \u0026ndash; en die zich wil staande houden door een kultus van formalismen.\u003cbr /\u003e\r\n\t\u0026nbsp;\u003c/li\u003e\r\n\t\u003cli\u003ezij wenst in de zin van HAAR BEGINSELEN effektief tegen deze laatste opvatting te handelen, door zich openlijk af te scheiden en zich als de \u0026ldquo;nieuwe vlaamse school\u0026rdquo; te bekennen.\u003c/li\u003e\r\n\u003c/ul\u003e\r\n\r\n\u003cp\u003eMARK CLAUS\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; JEF KERSTING\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; ENG. VAN ANDERLECHT\u003cbr /\u003e\r\nHERMAN DENKENS\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; NIC KLERKS \u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; GUY VANDENBRANDE\u003cbr /\u003e\r\nJAN DRIES\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; GUY MEES\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; WIM VAN DE VELDE\u003cbr /\u003e\r\nVIC GENTILS\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp; JEF VERHEYEN\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\n\u003cstrong\u003eLigt de universaliteit in de traditie?\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eIs het niet juist door het feit dat hij zijn aard bepaalt dat de mens eerbied voor de dingen krijgt, en aldus de kennis verwerft, of het bewustzijn, dat alle dingen de delen zijn die de samenleving, kosmos of\u0026nbsp; eenheid vormen? Is zelfbewust worden niet het verschil tussen het ik en het andere opmerken?\u003c/p\u003e\r\n\r\n\u003cp\u003eAls men het eigenaard-ige van zichzelf kent weet men dat het iets is dat de anderen niet bepaald hebben, en dat al wat de anderen bezitten dat is wat men zelf niet heeft. Hieruit vloeit voort dat men eerst het andere moet kennen om de eigen aard te herkennen. De vlaamse traditie kan men slechts herkennen wanneer men de andere tradities aanneemt, vermits het aannemen het begin der kennis is.\u003c/p\u003e\r\n\r\n\u003cp\u003eAls men het ene ziet, ziet men automatisch het andere, en als men het andere aanneemt neemt men het ene aan. Hier is van keuze geen sprake: ofwel eerbiedigt en ziet men het andere en wordt men bewust, of men ziet niets anders waardoor men niet bestaat.\u003c/p\u003e\r\n\r\n\u003cp\u003eHet is gemakkelijk te zeggen dat men in Belgi\u0026euml; internationaal wil worden of universeel wil erkend zijn, maar het is zeker dat hij, die bij geen enkele traditie wil aansluiten, tot niets zal behoren, daar hij geen bepaling zal geven en aldus de anderen hem aan niets bepaald zullen herkennen.\u003c/p\u003e\r\n\r\n\u003cp\u003eWas het de schuld van Van Eyck, Memling, Metsijs, Bosch, Dirc Bouts e.a. dat zij vlaams waren en schilderden? Als Rik Wouters, Ensor, Brusselmans, van den Berghe, Permeke, door dat zij vlaams voelden, bij hun traditie aansloten, kan men hen dat nog minder verwijten.\u003c/p\u003e\r\n\r\n\u003cp\u003eAls nu de Belgische offici\u0026euml;le instanties die Vlaamse schilderkunst als Belgisch willen tonen wordt dit even moeilijk als appelen voor citroenen verkopen.\u003c/p\u003e\r\n\r\n\u003cp\u003eVermits wij nooit voor de Belgische staat als autonoom zullen aangenomen worden zal geen Vlaams schilder een kans krijgen om zich officieel als aanhanger of voortzetter der Vlaamse traditie te manifesteren. Nooit zal men in Belgi\u0026euml; schilders, die bewust tot de Vlaamse traditie behoren, kunnen propageren of verdedigen.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn wezen is pikturaliteit zonder grenzen, van het ogenblik dat de mens deze voorstelt wordt het een produkt\u0026nbsp; van die mens plus zijn omgeving. Als iemand schilder is kan die niets anders dan een produkt van zijn gemeenschap zijn en zijn productie ook, een produktie die tot het progressiefste zal uitgroeien en tot de avantgarde moet behoren, vermits het nieuwe altijd uit het oude geboren wordt.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDrukkerij M. VAN HAVER, St. Niklaas\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e[French version t.b.c.]\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33878,"title":"• 0806 • Untitled","dimensions":"50 x 60 cm","date_begin":"1960-01-01","material":"Mixed media, gold pigment and blue ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Private","cached_tag_list":"Jef Verheyen Guy Mees Lotte Mees Pigment Ronny Van de Velde","publishing_process_id":1,"annotation":"\u003cp\u003e---------------------------------------------------------------------------\u003cbr /\u003e\r\nSigned on the backing board: \u0026#39;Jef Verheyen\u0026#39;\u003cbr /\u003e\r\nDated on the backing board: \u0026#39;1960\u0026#39;\u003cbr /\u003e\r\nUntitled\u003cbr /\u003e\r\nNoted on the backing board: \u0026#39;Antwerpen\u0026#39;\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":24,"permalink":"806-untitled","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":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/683/medium_500/806_1.JPG?1672908884","cached_actor_names":"Ronny Van de Velde , Guy Mees, Jef Verheyen","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/000/088/683/large/806_1.JPG?1672908884","poster_credits":"(c)Jef Verheyen, photo: De Vuyst - Jef Verheyen Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":36202,"title":"Guy Mees (left) and Jef Verheyen in the Tempeliershof in Weert, where they spent the summer together, painting and writing","dimensions":"","date_begin":"1959-01-01","material":"Photograph","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen, Guy Mees, Tempelierenhof, Tempeliershof, Weert, Schelde","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JV_39_27_01","stream_count_app":10,"permalink":"guy-mees-left-and-jef-verheyen-in-the-tempeliershof-in-weert-where-they-spent-the-summer-together-painting-and-writing","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":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/760/medium_500/JV_39_27_01.jpg?1718802337","cached_actor_names":"Jef Verheyen, Guy Mees","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/000/092/760/large/JV_39_27_01.jpg?1718802337","poster_credits":"Scan: CKV - Jef Verheyen Archive","translations":[{"locale":"en","description":"\u003cp\u003eWeg met verf. Dat is het motto van Guy Mees in de\u003c/p\u003e\u003cp\u003ejaren 1960. De avant-gardekunstenaar verruilt doek\u003c/p\u003e\u003cp\u003een houtskool voor composities met industrieel\u003c/p\u003e\u003cp\u003evervaardigd kant en neonlampen. Of ze nu rond,\u003c/p\u003e\u003cp\u003evierkant of driehoekig zijn, ze dragen allemaal\u003c/p\u003e\u003cp\u003ede titel \u003ci\u003eVerloren Ruimte.\u0026nbsp;\u003c/i\u003eNet als Verheyen speelt\u003c/p\u003e\u003cp\u003eMees met concepten als ruimte en licht. In 1959\u003c/p\u003e\u003cp\u003ebrengen ze de zomer door in het Tempeliershof,\u003c/p\u003e\u003cp\u003eeen leegstaande boerderij in Weert. Daar werken\u003c/p\u003e\u003cp\u003een schrijven ze samen. Voor Verheyen is Mees\u003c/p\u003e\u003cp\u003e“de schilder die mij de oplossing toonde,” en de\u003c/p\u003e\u003cp\u003edefinitie van schilderkunst in vraag stelt.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eAway with paint. In the 1960s that is the slogan\u003c/p\u003e\u003cp\u003eof Guy Mees. This avant-garde artist exchanges\u003c/p\u003e\u003cp\u003ecanvas and charcoal for industrially produced lace\u003c/p\u003e\u003cp\u003eand neon lights. Whether they are round, square or\u003c/p\u003e\u003cp\u003etriangular, these works all bear the enigmatic title\u003c/p\u003e\u003cp\u003e\u003ci\u003eVerloren Ruimte\u0026nbsp;\u003c/i\u003e(Lost Space). Just like Verheyen,\u003c/p\u003e\u003cp\u003eMees plays with concepts such as space and\u003c/p\u003e\u003cp\u003elight. In 1959 they both spend the summer at the\u003c/p\u003e\u003cp\u003eTempeliershof, an empty farm in Weert, where they\u003c/p\u003e\u003cp\u003ework and write together. For Verheyen, Mees is\u003c/p\u003e\u003cp\u003e‘the painter who showed me the solution’ and\u003c/p\u003e\u003cp\u003equestioned the definition of painting.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":36245,"title":"Verloren Ruimte (Lost Space)","dimensions":"120 cm ø","date_begin":"1965-01-01","material":"Lace, blue neon, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Galerie Ronny Van de Velde, Antwerp","cached_tag_list":"Jef Verheyen","publishing_process_id":1,"annotation":"","date_end":null,"reference":"GM-311","stream_count_app":7,"permalink":"verloren-ruimte-lost-space-3dfe8a5a-f4d1-471b-a013-e1923cc3935e","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":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/826/medium_500/Mees_Guy.jpg?1720787599","cached_actor_names":"Guy Mees","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/000/092/826/large/Mees_Guy.jpg?1720787599","poster_credits":"© Guy Mees, 2024, Galerie Ronny Van de Velde","translations":[{"locale":"en","description":"\u003cp\u003eAway with paint. In the 1960s that is the slogan\u003c/p\u003e\u003cp\u003eof Guy Mees. This avant-garde artist exchanges\u003c/p\u003e\u003cp\u003ecanvas and charcoal for industrially produced lace\u003c/p\u003e\u003cp\u003eand neon lights. Whether they are round, square or\u003c/p\u003e\u003cp\u003etriangular, these works all bear the enigmatic title\u003c/p\u003e\u003cp\u003e\u003ci\u003eVerloren Ruimte\u0026nbsp;\u003c/i\u003e(Lost Space). Just like Verheyen,\u003c/p\u003e\u003cp\u003eMees plays with concepts such as space and\u003c/p\u003e\u003cp\u003elight. In 1959 they both spend the summer at the\u003c/p\u003e\u003cp\u003eTempeliershof, an empty farm in Weert, where they\u003c/p\u003e\u003cp\u003ework and write together. For Verheyen, Mees is\u003c/p\u003e\u003cp\u003e‘the painter who showed me the solution’ and\u003c/p\u003e\u003cp\u003equestioned the definition of painting.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eWeg met verf. Dat is het motto van Guy Mees in de\u003c/p\u003e\u003cp\u003ejaren 1960. De avant-gardekunstenaar verruilt doek\u003c/p\u003e\u003cp\u003een houtskool voor composities met industrieel\u003c/p\u003e\u003cp\u003evervaardigd kant en neonlampen. Of ze nu rond,\u003c/p\u003e\u003cp\u003evierkant of driehoekig zijn, ze dragen allemaal\u003c/p\u003e\u003cp\u003ede titel \u003ci\u003eVerloren Ruimte.\u0026nbsp;\u003c/i\u003eNet als Verheyen speelt\u003c/p\u003e\u003cp\u003eMees met concepten als ruimte en licht. In 1959\u003c/p\u003e\u003cp\u003ebrengen ze de zomer door in het Tempeliershof,\u003c/p\u003e\u003cp\u003eeen leegstaande boerderij in Weert. Daar werken\u003c/p\u003e\u003cp\u003een schrijven ze samen. Voor Verheyen is Mees\u003c/p\u003e\u003cp\u003e“de schilder die mij de oplossing toonde,” en de\u003c/p\u003e\u003cp\u003edefinitie van schilderkunst in vraag stelt.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":5724,"title":"Verloren ruimte [Lost space]","dimensions":"190 x 92 cm","date_begin":"1991-01-01","material":"wood, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eFrom around 1970, Guy Mees worked with color (markers, pastels) on paper. In later works the color spreads ever more freely over the surface and the papers lose their rectangular shape. The organization within these works also becomes freer and looser. This evolution culminates in works where the artist cuts out strips of colored paper that alone or in composition, as painterly signs, are pinned to the wall or some other supporting surface. The criterion for picking from various sorts of paper is the manner they reflect color- and radiant light. The artist makes use of matte, glossy, semi-matte, metallic paper sorts, newsprint, fabric, sometimes even artist’s canvas and aluminum foil. Only the shadows cast by the sheets of paper tell us that these are not painted or pasted color strips. The paper surfaces of various widths and shapes create an illusion of depth via the action of apposing colors. From 1983 onwards, the partially open, multi-cut-out compositions, become gradually simplified to monochrome cutouts.\u003c/p\u003e\u003cp\u003eVanaf ongeveer 1970 werkte Guy Mees met kleur (stift, pastel) op papier. In latere werken verspreidt de kleur zich steeds vrijer over het vlak en de papieren verliezen hun rechthoekige vorm. De ordening binnen deze werken wordt steeds vrijer en losser. Deze evolutie mondt uit in werken waarin de kunstenaar repen snijdt uit gekleurd papier die vrij of in compositie, als schildersgebaren, tegen de muur of een andere drager worden gespeld. Het criterium voor het uitzoeken van verschillende papiersoorten is de manier waarop ze kleur- en lichtstraling reflecteren. De kunstenaar gebruikt matte, glanzende, halfmatte, metaalachtige papiersoorten, krantenpapier, textiel, soms zelf schildersdoek en aluminiumfolie. Enkel de slagschaduwen geven aan dat het geen geschilderde of gekleefde kleurenbanen zijn. De papiervlakken van verschillende breedte en vorm creëren door de werking van de kleuren tegenover elkaar een illusie van diepte. Vanaf 1983 worden de gedeeltelijk open, uit verschillende knipsels bestaande composities gaandeweg vereenvoudigd tot éénkleurige knipsels.\u003c/p\u003e\u003cp\u003eA partir de 1970 environ, Guy Mees a travaillé avec la couleur (feutre, pastel) sur papier. Dans ses œuvres ultérieures, la couleur se répartit toujours plus librement sur la surface et les papiers perdent leur forme rectangulaire. L'ordre dans ces œuvres devient de plus en plus libre et indépendant. Cette évolution aboutit à des travaux dans lesquels l'artiste découpe des lanières de papier coloré qui sont épinglés librement ou en composition, comme des gestes de peintre, contre le mur ou un autre support. Le critère de recherche de différents types de papier est la manière dont ils réfléchissent le rayonnement de la couleur et de la lumière. L'artiste utilise des types de papier mats, brillants, semi mats, métalliques, du papier journal, des textiles, parfois même de la toile de peinture et du film aluminium. Seules les ombres portées indiquent que ce ne sont pas des bandes de couleur peintes ou collées. Les surfaces en papier de différentes largeurs et formes créent une illusion de profondeur par l'action des couleurs les unes avec les autres. A partir de 1983, les compositions en partie ouvertes, constituées de plusieurs découpages, se simplifient graduellement pour devenir des découpages monochromes.\u003c/p\u003e","date_end":null,"reference":"BK5971","stream_count_app":41,"permalink":"verloren-ruimte-lost-space--2","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":"Guy Mees","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/000/011/295/large/Mees__Guy__0014_Verloren_ruimte__1991.jpg?1366902636","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify;\"\u003eMees’s work is systemic, yet the system emerges from within the work itself. The precision of his oeuvre — with interlocking elements from painting, sculpture, and performance, in which colour, texture, and the experience of space are paramount — is\u0026nbsp;of an order that resists verbal definition. In the 1980s, Mees creates works with cut-out pieces of coloured paper, pinned against the wall or another surface like painterly gestures, forming a kind of ‘lost spaces’.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eRead more about this work \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/095/856/original/Guy_Mees_Verloren_ruimte_Lost_Space_1985_1991_EN.pdf?1778247695\"\u003ehere\u003c/a\u003e.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp style=\"text-align:justify;\"\u003eHet werk van Mees is systemisch, maar het systeem ontstaat in\u0026nbsp;het werk zelf. De nauwkeurigheid van zijn oeuvre — met in elkaar grijpende elementen uit de schilderkunst, beeldhouwkunst en performance, waarin de belangrijkheid van kleur, textuur en de ervaring van de ruimte primeren — is van een orde die zich niet in woorden laat definiëren. In de jaren 80 creëert Mees werken met knipsels van gekleurd papier, als schildersgebaren, tegen de muur of een andere drager gespeld, als een soort ‘verloren ruimtes’.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eOntdek meer over dit werk \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/095/854/original/Guy_Mees_Verloren_ruimte_1985_1991_NL.pdf?1778245503\"\u003ehier\u003c/a\u003e.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eL'œuvre de Mees est systémique, mais le système naît dans l'œuvre elle-même. La précision de son œuvre — où s'entremêlent des éléments issus de la peinture, de la sculpture et de la performance, et où priment l'importance de la couleur, de la texture et de l'expérience de l'espace — relève d'un ordre qui ne se laisse pas définir par des mots. Dans les années 80, Mees crée des œuvres à partir de découpes de papier coloré, telles des gestes picturaux, épinglées au mur ou sur un autre support, formant une sorte d’« espaces perdus ».\u003c/p\u003e\u003cp\u003eCliquez \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/095/857/original/Guy_Mees_Verloren_ruimte_Espace_perdu_1985_1991_FR.pdf?1778251796\"\u003eici\u003c/a\u003e pour en savoir plus sur cette œuvre.\u003c/p\u003e"}]}]