[{"id":175,"title":"La Zone Absolue/Canalisation","dimensions":"00:13:45","date_begin":"1969-01-01","material":"dvd","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"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":"M00059","stream_count_app":17,"permalink":"la-zone-absolue-canalisation","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/000/000/287/large/Charlier_Jacques_Canalisations_Souteraines_1969_11%20Video%20Still.jpg?1300264313","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThis fluxus related - video gives an image of a hole that is dug in the ground. By this action Jacques Charlier (defender of the \u0026lsquo;Belgitude\u0026rsquo;) articulates a comment on art to find the dream, an attitude of art. He is irreverent but radical related to the tradition of art and beliefs that everything is art and uses often unimportant forms of the art \u0026ndash; system like parody and persiflage, a valorization of the art-world as in technical services, even the ground work of laying pipes and drainages referred to this.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5466,"title":"Dessins Humoristiques (André Cadéré)","dimensions":"30,5 x 21,5 cm","date_begin":"1975-01-01","material":"paper, collage, east-indian ink","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"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":"BK5222_M36b","stream_count_app":11,"permalink":"dessins-humoristiques-andre-cadere","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/000/024/885/large/Charlier___Jacques_.jpg?1410445552","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIn the Sixties and Seventies, Jacques Charlier makes a series of caricatures and comic strips parodying the world of art.\u0026nbsp; Not accidentally, he chooses popular mediums that do not really fit into \u0026#39;Art with a capital A\u0026#39;, namely the comic strip and the caricature, to express his views on an art milieu that often takes itself so seriously.\u0026nbsp; He ridicules the pretention of many artists and the theories constructed and promoted within these circles. \u0026nbsp;In this series, various figures are given a good going over: artists Dan Graham, Daniel Buren and Andr\u0026eacute; Cad\u0026eacute;r\u0026eacute;, gallery owners Fernand Spillemaeckers and Elisabeth Rona, critic Jean-Pierre Van Tieghem and Karel Geirlandt, the former director of the Association for Exhibitions at Brussels\u0026#39; Paleis voor Schone Kunsten. \u0026nbsp;The drawings are mainly for the delectation of the \u0026#39;inaugurated\u0026#39;, for those in the know about the art world and the figures who play a role there.\u0026nbsp; The more the viewer is in touch with the art scene, the more he or she can appreciate the layerdness of Charlier\u0026#39;s work here.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eJacques Charlier maakt in de jaren zestig en zeventig een reeks karikaturen en stripverhalen waarin hij de kunstwereld parodieert. Niet toevallig kiest hij voor een populair medium dat niet echt thuishoort bij de \u0026lsquo;Kunst met een hoofdletter\u0026rsquo;, namelijk het stripverhaal en de karikatuur, om commentaar te leveren op het kunstmilieu dat zichzelf vaak zo ernstig neemt. Hij drijft de spot met de pretentie van veel kunstenaars en met de theorie\u0026euml;n die geconstrueerd en gepromoot worden door de omgeving van de kunstenaars. Verschillende figuren worden in deze reeks op de korrel genomen: kunstenaars Dan Graham, Daniel Buren en Andr\u0026eacute; Cad\u0026eacute;r\u0026eacute;, galerijhouders Fernand Spillemaeckers en Elisabeth Rona, criticus Jean-Pierre Van Tieghem en Karel Geirlandt, de toenmalige directeur van de Vereniging voor Tentoonstellingen van het Paleis voor Schone Kunsten in Brussel. De tekeningen zijn vooral te smaken voor \u0026lsquo;ingewijden\u0026rsquo;, voor diegenen die op de hoogte zijn van de kunstwereld en de figuren die er een rol in spelen. Des te groter de vertrouwdheid van de toeschouwer met de kunstsc\u0026egrave;ne is, des te beter zal die de gelaagdheid van Charliers werk kunnen vatten.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":5465,"title":"Dessins Humoristiques (André Cadéré)","dimensions":"30.5 x 21.5 cm","date_begin":"1974-01-01","material":"paper, collage, east-indian ink","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"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":"BK5222_M36a","stream_count_app":14,"permalink":"dessins-humoristiques-andre-cadere--2","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/000/010/910/large/Charlier__0019_Jacques___Andre_Cad%C3%A9r%C3%A9__1974%281%29.jpg?1342517094","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5462,"title":"Dessins Humoristiques (Karel Geirlandt)","dimensions":"30,5 x 21,5 cm","date_begin":"1974-01-01","material":"pencil, through tracing paper, east-indian ink, adhesive characters","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"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":"BK5227_M40","stream_count_app":12,"permalink":"dessins-humoristiques-karel-geirlandt","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/000/010/908/large/Charlier__0014_Jacques__Karel_Geirlandt___1974%281%29.jpg?1342515928","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5460,"title":"Dessins Humoristiques (Daniel Buren)","dimensions":"30.5 x 21.5 cm","date_begin":"1973-01-01","material":"paper, pencil, east-indian ink, adhesive letters","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"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":"1974-01-01","reference":"BK5225_M38","stream_count_app":26,"permalink":"dessins-humoristiques-daniel-buren","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/000/010/902/large/Charlier__0020_Jacques___Daniel_Buren__1973-74.jpg?1342515225","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5461,"title":"Dessins Humoristiques (Elisabeth Rona)","dimensions":"30,5 x 21,5 cm","date_begin":"1975-01-01","material":"paper, collage, pencil, east-indian ink, marker","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"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":"BK5226_M39","stream_count_app":12,"permalink":"dessins-humoristiques-elisabeth-rona","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/000/010/906/large/Charlier__0029_Jacques__Elisabeth_Rona__1969-1974%281%29.jpg?1342515628","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5456,"title":"Dessins Humoristiques (Dan Graham)","dimensions":"6 x (30.5 x 21.5 cm)","date_begin":"1976-01-01","material":"paper, east-indian ink","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK5221_M34","stream_count_app":62,"permalink":"dessins-humoristiques-dan-graham","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/000/010/880/large/BK5221_M34.jpg?1342512070","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eJacques Charlier maakt in de jaren zestig en zeventig een reeks karikaturen en stripverhalen waarin hij de kunstwereld parodieert. Niet toevallig kiest hij voor een populair medium dat niet echt thuishoort bij de \u0026lsquo;Kunst met een hoofdletter\u0026rsquo;, namelijk het stripverhaal en de karikatuur, om commentaar te leveren op het kunstmilieu dat zichzelf vaak zo ernstig neemt. Hij drijft de spot met de pretentie van veel kunstenaars en met de theorie\u0026euml;n die geconstrueerd en gepromoot worden door de omgeving van de kunstenaars. Verschillende figuren worden in deze reeks op de korrel genomen: kunstenaars Dan Graham, Daniel Buren en Andr\u0026eacute; Cad\u0026eacute;r\u0026eacute;, galerijhouders Fernand Spillemaeckers en Elisabeth Rona, criticus Jean-Pierre Van Tieghem en Karel Geirlandt, de toenmalige directeur van de Vereniging voor Tentoonstellingen van het Paleis voor Schone Kunsten in Brussel. De tekeningen zijn vooral te smaken voor \u0026lsquo;ingewijden\u0026rsquo;, voor diegenen die op de hoogte zijn van de kunstwereld en de figuren die er een rol in spelen. Des te groter de vertrouwdheid van de toeschouwer met de kunstsc\u0026egrave;ne is, des te beter zal die de gelaagdheid van Charliers werk kunnen vatten.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":13345,"title":"Jacques Charlier \"Roll around  the plinting\" ( Plinthures belches)","dimensions":"29.7 x 20.9 cm, language : French, author : Christine Breton, publisher : Musée de Grenoble, Grenoble","date_begin":"1981-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Artist publication ; Artist catalogue ; Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2011/776","stream_count_app":9,"permalink":"jacques-charlier-roll-around-the-plinting-plinthures-belches","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/000/030/259/large/artistbooks_7_36_25_21.jpg?1453198453","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eLayout of the publication by the artist. Information on the exhibition and publication by Christine Breton on the back side of the cover.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14318,"title":"Zonder titel (Paysages professionnels)","dimensions":"","date_begin":"1967-01-01","material":"","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":"Privécollectie","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEigen uitgave, Luik\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":16,"permalink":"zonder-titel-payusages-professionels","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/000/033/074/large/2016_Van_Broodthaers_tot_Braeckman__9_10.jpg?1475749643","poster_credits":"image: (c) M HKA, Privécollectie","translations":[{"locale":"en","description":"\u003cp\u003eHis first exhibitions in the early sixties are quickly oriented to mise-en-sc\u0026egrave;nes of objects that have fallen into disuse, which he finds at flea markets and in which he often integrates photos. In 1960, he starts to build a collection of professional photographs, in collaboration with Andr\u0026eacute; Bertrand, with whom he works at the Provincial Technical Department of Liege (PTD) (1957/1977). The proposal to exhibit these photographs in galleries isn\u0026#39;t successful. During this period, his photographs are only a reaction to pop art and \u003cem\u003enouveau r\u0026eacute;alisme\u003c/em\u003e (new realism). Afterwards, he makes transparent photographic enlargements installed in illuminated cabinets, then pasted on panel. He would destroy them, just like the earlier collages.\u003c/p\u003e\r\n\r\n\u003cp\u003e[\u0026hellip;]\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1970, through the intervention of Broodthaers, he meets Spillemaeckers, who has just opened a gallery. The latter organises the first exhibition of professional photos by the Provincial Technical Department (PTD). During the seventies, several activities will take place. The documents of the PTD will continue to be made, further spurred by the advent of minimal and conceptual art. It is also the era of pictures of opening, photo novels, humorous drawings and musical experiences.\u003c/p\u003e\r\n\r\n\u003cp\u003eSergio Bonati, In: Uitnodiging/ Nieuwsperiodiek, \u003cem\u003eJacques Charlier \u0026ndash; Van de jaren zestig tot de jaren negentig\u003c/em\u003e, 4\u003csup\u003ee\u003c/sup\u003e year, nr. 17, November 1994, p. 2\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eZijn eerste tentoonstellingen aan het begin van de zestiger jaren waren snel geori\u0026euml;nteerd naar mise-en-sc\u0026egrave;ne van in ongebruik geraakte objecten die hij vindt op rommelmarkten en waarin hij dikwijls foto\u0026rsquo;s integreert. In 1960 begint hij een verzameling professionele foto\u0026rsquo;s aan te leggen. Dit met de medewerking van Andr\u0026eacute; Bertrand met wie hij werkt op de Provinciale Technische Dienst van Luik (PTD) (1957/1977). Het voorstel deze foto\u0026rsquo;s tentoon te stellen in galeries kende geen succes. In deze tijd benadert hij ze slechts vanuit een reactie op de popart en het Nouveau\u0026nbsp;R\u0026eacute;alisme. Vervolgens maakt hij transparante fotografische vergrotingen ge\u0026iuml;nstalleerd in verlichte kasten en daarna op paneel gekleefd. Hij zou ze vernietigen zoals de vroegere collages.\u003c/p\u003e\r\n\r\n\u003cp\u003e[\u0026hellip;]\u003c/p\u003e\r\n\r\n\u003cp\u003eIn 1970 leert hij door de tussenkomst van Broodthaers Spillemaeckers kennen die juist een galerie geopend heeft. Deze organiseert de eerste tentoonstelling van de professionele foto\u0026rsquo;s van de Provinciale Technische Dienst (PTD). Gedurende de zeventiger jaren zullen er verschillende activiteiten tot stand komen. De documenten van de PTD zullen hun weg verderzetten aangespoord door de komst van de minimale kunst en de conceptuele kunst. Het is ook het tijdperk van de vernissagefoto\u0026rsquo;s, de fotoromans, de humoristische tekeningen en de muzikale ervaringen.\u003c/p\u003e\r\n\r\n\u003cp\u003eSergio Bonati, In: Uitnodiging/ Nieuwsperiodiek, \u003cem\u003eJacques Charlier \u0026ndash; Van de jaren zestig tot de jaren negentig\u003c/em\u003e, 4\u003csup\u003ee\u003c/sup\u003e jaargang, nr. 17, november 1994, p. 2\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eSes premi\u0026egrave;res expositions du d\u0026eacute;but des ann\u0026eacute;es soixante s\u0026rsquo;orientent rapidement vers des mises en sc\u0026egrave;ne d\u0026rsquo;objets d\u0026eacute;suets r\u0026eacute;colt\u0026eacute;s sur les brocantes, dans lesquelles interviennent souvent des photographies. En 1963, il commence une collection de photos professionnelles, avec la complicit\u0026eacute; d\u0026rsquo;Andr\u0026eacute; Bertrand, avec qui il travaille au Service Technique Provincial de Li\u0026egrave;ge (1957/1977). La proposition d\u0026rsquo;exposition de ces photos dans les galeries ne rencontrera aucun succ\u0026egrave;s. A l\u0026rsquo;\u0026eacute;poque il ne les envisage qu\u0026rsquo;en r\u0026eacute;action au pop art et au nouveau r\u0026eacute;alisme. Il r\u0026eacute;alise ensuite des agrandissements photographiques transparentes install\u0026eacute;s dans ces caissons lumineux, puis coll\u0026eacute;s sur panneaux. Il les d\u0026eacute;truira ainsi que les collages ant\u0026eacute;rieurs.\u003c/p\u003e\r\n\r\n\u003cp\u003e[\u0026hellip;]\u003c/p\u003e\r\n\r\n\u003cp\u003eEn 1970, par l\u0026rsquo;entremise de Broodthaers, il fait connaissance de Spillemaeckers qui vient d\u0026rsquo;ouvrir une galerie. Celui-ci organise la premi\u0026egrave;re exposition des photo professionnelles du STP. Durant les ann\u0026eacute;es septante plusieurs activit\u0026eacute;s vont se chevaucher. Des documents du STP vont continuer leur cheminement pouss\u0026eacute;s par l\u0026rsquo;av\u0026egrave;nement de l\u0026rsquo;art minimal et conceptuel. C\u0026rsquo;est aussi l\u0026rsquo;\u0026eacute;poque des photos de vernissages, des romans photos, des dessins humoristique, des exp\u0026eacute;riences musicales.\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\r\n\u003cp\u003eSergio Bonati, Dans: Uitnodiging/ Nieuwsperiodiek, \u003cem\u003eJacques Charlier \u0026ndash; Des ann\u0026eacute;es soixante aux ann\u0026eacute;es nonante\u003c/em\u003e, 4\u003csup\u003ee\u003c/sup\u003e ann\u0026eacute;es, nr. 17, novembre 1994, p. 5\u003c/p\u003e\r\n\u003c/div\u003e\r\n"}]},{"id":14315,"title":"Paysages professionnels","dimensions":"","date_begin":"1970-01-01","material":"","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":"(c) Jacques Charlier, Courtesy Nadja Vilenne","cached_tag_list":"Jacques Charlier","publishing_process_id":1,"annotation":"\u003cp\u003e(Werk van 10 panelen: 9 fotopanelen + 1 \u0026#39;protocol\u0026#39;)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":13,"permalink":"documents-professionels-du-stp","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/000/033/059/large/1_8.jpg?1475241114","poster_credits":"image: (c) M HKA, (c) Jacques Charlier, Courtesy Nadja Vilenne","translations":[{"locale":"en","description":"\u003cp\u003eI was working for a public projects office, the Provincial Technical Service in Li\u0026egrave;ge \u0026ndash; roads, sewers, waterworks, topography\u0026hellip; In this reservoir of things and activities I found a contrarian response to what people were calling \u0026ldquo;everyday reality\u0026rdquo; and putting up for exhibition in galleries. I was dealing with everyday documents, which didn\u0026rsquo;t have the seductiveness of materials from the so-called urban landscape. The coldness of the professional documents was corrosive. As early as 1963 I had the idea of showing these photographic documents with their certificate of origin and purpose, but it was only in 1971 that the work was shown in MTL gallery in Brussels.\u003c/p\u003e\r\n\r\n\u003cp\u003eRen\u0026eacute; Denizot, In: Galeries Magazine, \u003cem\u003eArtiste: Jacques Charlier\u003c/em\u003e, pp. 91-93\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIk werkte bij de Provinciale Technische Dienst van Luik in een kantoor van de openbare werken \u0026ndash; wegen, riolering, waterwegen, topografie... Ik vond in dit reservoir van dingen en activiteiten een antwoord\u003cem\u003e a contrario\u003c/em\u003e op wat men de \u0026#39;dagelijkse werkelijkheid\u0026#39; noemde, en dat men tentoonstelde in galerijen. Ik kreeg te maken met alledaagse documenten die niet het soort aantrekkingskracht hadden van wat toen als stedelijke landschap werd getoond. Er ging een bijtende humor uit van die kille, professionele documenten.\u0026nbsp;Vanaf 1963 heb ik een project opgezet om deze fotodocumenten te tonen \u0026ndash; met hun certificaat van oorsprong en waartoe ze dienden, maar het is pas in 1971 dat dit werk te zien was in\u0026nbsp; galerij MTL in Brussel.\u003c/p\u003e\r\n\r\n\u003cp\u003eRen\u0026eacute; Denizot, In: Galeries Magazine, \u003cem\u003eArtiste: Jacques Charlier\u003c/em\u003e, p. 93\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eJe travaillais au Service technique provincial de Li\u0026egrave;ge dans un bureau de travaux publics \u0026ndash; routes, \u0026eacute;gouts, cours\u0026nbsp; d\u0026rsquo;eau, topographie\u0026hellip; Je trouvais dans ce r\u0026eacute;servoir de choses et d\u0026rsquo;activit\u0026eacute;s une r\u0026eacute;ponse a contrario \u0026agrave; ce qu\u0026rsquo;on appelait la \u0026laquo;\u0026nbsp;r\u0026eacute;alit\u0026eacute; quotidienne\u0026nbsp;\u0026raquo; et que l\u0026rsquo;on exposait dans les galeries. J\u0026rsquo;avais affaire \u0026agrave; des documents du quotidien qui n\u0026rsquo;avaient pas la s\u0026eacute;duction de ce qui \u0026eacute;tait alors montr\u0026eacute; comme paysage urbain. La froideur des documents professionnels avait un caract\u0026egrave;re d\u0026eacute;capant.\u003cbr /\u003e\r\nA partir de 1963, j\u0026rsquo;ai eu le projet de montrer ces documents photographiques avec leur certificat d\u0026rsquo;origine et leur finalit\u0026eacute;, mais ce n\u0026rsquo;est qu\u0026rsquo;en 1971 que ce travail a \u0026eacute;t\u0026eacute; montr\u0026eacute; \u0026agrave; la galerie MTL \u0026agrave; Bruxelles.\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\r\n\u003cp\u003eRen\u0026eacute; Denizot, Dans: Galeries Magazine, \u003cem\u003eArtiste: Jacques Charlier\u003c/em\u003e, p. 93\u003c/p\u003e\r\n\u003c/div\u003e\r\n"}]},{"id":14317,"title":"Photographies de Vernissages","dimensions":"12.6 x 17.8 cm","date_begin":"1974-01-01","material":"","short_description":"\u003cp\u003eVernissage des expositions J. Charlier, On Kawara/Vernissage van de tentoonstellingen J. Charlier, On Kawara, 1.07.1975 (Exhibition catalogue. Brussels: Soci\u0026eacute;t\u0026eacute; des expositions du Palais des Beaux Arts a.s.b.l./Vereniging voor tentoonstellingen van het Paleis voor Schone Kunsten v.z.w., 1975)\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":"Courtesy Nadja Vilenne","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eAbout 160 pages, oblong 12,6 \u0026times; 17,8 cm, glued\u003c/p\u003e\r\n","date_end":"1975-01-01","reference":"","stream_count_app":13,"permalink":"vernissage-des-expositions-j-charlier-on-kawara-vernissage-van-de-tentoonstellingen-j-charlier-on-kwara","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/000/032/646/large/2016_12_2.jpg?1475757041","poster_credits":"image: (c) M HKA, Courtesy Nadja Vilenne","translations":[{"locale":"en","description":"\u003cp\u003eVernissage des expositions J. Charlier, On Kawara/Vernissage van de tentoonstellingen J. Charlier, On Kawara, 1.07.1975 (Exhibition catalogue. Brussels: Soci\u0026eacute;t\u0026eacute; des expositions du Palais des Beaux Arts a.s.b.l./Vereniging voor tentoonstellingen van het Paleis voor Schone Kunsten v.z.w., 1975)\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eVernissage des expositions J. Charlier, On Kawara/Vernissage van de tentoonstellingen J. Charlier, On Kawara, 1.07.1975 (Tentoonstellingscatalogus.\u0026nbsp;Brussels: Soci\u0026eacute;t\u0026eacute; des expositions du Palais des Beaux Arts a.s.b.l./Vereniging voor tentoonstellingen van het Paleis voor Schone Kunsten v.z.w., 1975)\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eVernissage des expositions J. Charlier, On Kawara/Vernissage van de tentoonstellingen J. Charlier, On Kawara, 1.07.1975 (Catalogue d\u0026#39;exposition.\u0026nbsp;Brussels: Soci\u0026eacute;t\u0026eacute; des expositions du Palais des Beaux Arts a.s.b.l./Vereniging voor tentoonstellingen van het Paleis voor Schone Kunsten v.z.w., 1975)\u003c/p\u003e\r\n"}]},{"id":14316,"title":"Photographies de Vernissages","dimensions":"","date_begin":"1974-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"(c) Jacques Charlier, Courtesy Nadja  Vilenne","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1975-01-01","reference":"","stream_count_app":15,"permalink":"photographies-de-vernissages","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/000/033/058/large/2016_Van_Broodthaers_tot_Braeckman__5.jpg?1475239642","poster_credits":"image: (c) M HKA, (c) Jacques Charlier, Courtesy Nadja  Vilenne","translations":[{"locale":"en","description":"\u003cp\u003eIn Ypres, for the exhibition \u003cem\u003eKunst in/als vraag\u003c/em\u003e (Art Questioned/As a Question) he [Jacques Charlier] has just shown 576 photos of openings, spread over two years, on which often the same figures from the Belgian art scene are to be seen in \u0026ndash; time and again \u0026ndash; similar environments, situations, attitudes. One cannot think of a more ironic commentary on this fauna than to dryly expose its mundane activity.\u003c/p\u003e\r\n\r\n\u003cp\u003eHere too, Charlier, just as in [the Provincial Technical Department], is at the same time actor and spectator. He is integrated into the environment, but he also takes his distance from it, he looks at it with a critical eye \u0026ndash; not really in a destructive, rather in an understanding and amused way, yet also with sufficient sarcasm. He knows that, after all, he is part of it, whether he likes it or not, and so his attitude is also largely one of self-mockery.\u003c/p\u003e\r\n\r\n\u003cp\u003eMarc Callewaert,\u003cem\u003e Een Andere Charlier: Van de openbare werken naar de \u0026ldquo;Plinthure\u0026rdquo;\u003c/em\u003e, 1981\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eTe Ieper, voor de tentoonstelling \u0026ldquo;Kunst in/als vraag\u0026rdquo;, toonde hij [Jacques Charlier]\u0026nbsp;zopas 576 foto\u0026rsquo;s van vernissages, verspreid over twee jaren, waarop regelmatig dezelfde figuren uit het Belgische kunstwereldje te zien waren, in telkens gelijkaardige omgevingen, situaties, houdingen. Je kunt geen ironischer commentaar op deze fauna bedenken dan het sec te kijk zetten van haar mondaine bedrijvigheid.\u003cbr /\u003e\r\nOok hier is Charlier, net als in de administratie, tegelijk acteur en toeschouwer. Hij is ge\u0026iuml;ntegreerd in het milieu, maar hij neemt er ook afstand van, hij kijkt ernaar met kritische blik, niet echt vernietigend, eerder begrijpend en geamuseerd, maar toch ook sarcastisch genoeg. Hij weet dat hij er ten slotte deel van uitmaakt, willen of niet, en dus is zijn houding ook goeddeels zelfspot.\u003c/p\u003e\r\n\r\n\u003cp\u003eMarc Callewaert,\u003cem\u003e Een Andere Charlier: Van de openbare werken naar de \u0026ldquo;Plinthure\u0026rdquo;\u003c/em\u003e, 1981\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;\u0026Agrave; Ypres, pour l\u0026rsquo;exposition \u003cem\u003eKunst in/als vraag\u003c/em\u003e (l\u0026rsquo;Art en/comme question), Jacques Charlier vient d\u0026rsquo;exposer 576 photographies de vernissages, r\u0026eacute;parties sur deux ans, sur lesquelles on aper\u0026ccedil;oit r\u0026eacute;guli\u0026egrave;rement les m\u0026ecirc;mes personnalit\u0026eacute;s du petit monde de l\u0026rsquo;art belge, chaque fois dans des environnements, des situations, des attitudes semblables. On ne peut pas imaginer de commentaire plus caustique sur cette faune que de tourner son activit\u0026eacute; mondaine en ridicule.\u003cbr /\u003e\r\nTout comme dans l\u0026rsquo;administration, Charlier est \u0026agrave; la fois acteur et spectateur de ce milieu auquel il est int\u0026eacute;gr\u0026eacute;, mais dont il prend aussi distance. Il l\u0026rsquo;observe d\u0026rsquo;un regard critique, pas vraiment impitoyable, plut\u0026ocirc;t compr\u0026eacute;hensif et amus\u0026eacute;, n\u0026eacute;anmoins passablement sarcastique. Il sait qu\u0026rsquo;au bout du compte, il en fait partie, qu\u0026rsquo;il le veuille ou non, et que par cons\u0026eacute;quent son attitude rel\u0026egrave;ve pour une grande part de l\u0026rsquo;autod\u0026eacute;rision.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eMarc Callewaert,\u003cem\u003e Een Andere Charlier: Van de openbare werken naar de \u0026ldquo;Plinthure\u0026rdquo;\u003c/em\u003e, 1981\u003c/p\u003e\r\n"}]},{"id":14419,"title":"Paysage artistique","dimensions":"50 x 65 cm, 50 x 60 cm, 50 x 60 cm, 25 x 50 cm","date_begin":"1970-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Privécollectie","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"paysage-artistique","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/000/033/035/large/Jacques_Charlier__Paysage_artistique_1970_photo_M_HKAcc_1.jpg?1475057218","poster_credits":"Image: © M HKA, Privécollectie","translations":[{"locale":"en","description":"\u003cp\u003e\u0026quot;It\u0026rsquo;s different from the ready-made, it\u0026rsquo;s more an object \u0026ldquo;found again\u0026rdquo; than it is a found object. It\u0026rsquo;s not believing that the object can be miraculously promoted to the status of a work by the artist\u0026rsquo;s signature alone.From far away it appears to be art. From upclose it isn\u0026#39;t.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003eRen\u0026eacute; Denizot, In: Galeries Magazine, \u003cem\u003eArtiste: Jacques Charlier\u003c/em\u003e, p. 93\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026quot;Het verschilt van de readymade, het is eerder een teruggevonden dan een gevonden voorwerp. Dit betekent: niet geloven dat het object op wonderbaarlijke wijze, slechts door de handtekening van de kunstenaar, gepromoveerd kan worden tot de status van kunstwerk. Van veraf lijkt het kunst. Van dichtbij is het geen kunst.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003eRen\u0026eacute; Denizot, In: Galeries Magazine, \u003cem\u003eArtiste: Jacques Charlier\u003c/em\u003e, p. 93\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026quot;C\u0026rsquo;est diff\u0026eacute;rent du ready made, c\u0026rsquo;est plut\u0026ocirc;t un objet retrouv\u0026eacute; que trouv\u0026eacute;. C\u0026rsquo;est ne pas croire que l\u0026rsquo;objet peut-\u0026ecirc;tre miraculeusement promu au statut d\u0026rsquo;\u0026oelig;uvre d\u0026rsquo;art uniquement par la signature de l\u0026rsquo;artiste. De loin, cela a l\u0026rsquo;air d\u0026rsquo;\u0026ecirc;tre de l\u0026rsquo;art. De pr\u0026egrave;s, \u0026ccedil;a n\u0026rsquo;en est pas.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\r\n\u003cp\u003eRen\u0026eacute; Denizot, Dans: Galeries Magazine, \u003cem\u003eArtiste: Jacques Charlier\u003c/em\u003e, p. 93\u003c/p\u003e\r\n\u003c/div\u003e\r\n"}]},{"id":14485,"title":"TOTAL'S","dimensions":"","date_begin":null,"material":"Paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":59,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection Philippe Crismer","cached_tag_list":"Total Jacques Charlier","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"total","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/000/033/075/large/2016_Van_Broodthaers_tot_Braeckman__9_11.jpg?1475748254","poster_credits":"image: (c) M HKA, Collection Philippe Crismer","translations":[{"locale":"en","description":"\u003cp\u003e\u0026quot;Charlier also published \u003ci\u003eTotal\u0026rsquo;s: the Li\u0026egrave;ge Underground Journal\u003c/i\u003e [Total\u0026rsquo;s : la revue souterraine li\u0026eacute;geoise]\u0026mdash;a journal that was published sporadically between 1965 and 1968. The magazine supported the group, known as Total\u0026rsquo;s Club, which had been founded by Jean-Marie Decheneux and Paul Dubar. Charlier, together with other members of the club, participated in happenings that often had a political motivation. One of the happenings included a march against nuclear weapons in Brussels, where the members walked with a transparent flag and a bandage stuck to their mouths. In this way, they supported the demonstration but, at the same time, they denounced the theatricality of the protest.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003eLiesbeth Decan, \u003cem\u003eConceptual, Surrealist, Pictorial: Photo-based Art in Belgium (1960s \u0026ndash; early 1990s)\u003c/em\u003e, Leuven University Press, 2016, p. 45\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eTotal\u0026#39;s n\u0026deg; pirate, la bonne parole li\u0026eacute;geoise\u003c/p\u003e\r\n\r\n\u003cp\u003eTotal\u0026#39;s n\u0026deg;1, L\u0026#39;\u0026eacute;dition souterraine li\u0026eacute;geoise,\u003c/p\u003e\r\n\r\n\u003cp\u003eTotal\u0026#39;s n\u0026deg;7, L\u0026#39;\u0026eacute;dition li\u0026eacute;geoise souterraine\u003c/p\u003e\r\n\r\n\u003cp\u003eTotal\u0026#39;s, n\u0026deg;2. Affichette - invitation\u003c/p\u003e\r\n\r\n\u003cp\u003eTract Total\u0026#39;s T\u0026#39;, un monde de super-machine, par Jacques Charlier\u003c/p\u003e\r\n\r\n\u003cp\u003eTotalistes pr\u0026eacute;sentant le n\u0026deg;7 de \u0026laquo;Total\u0026#39;s, l\u0026#39;\u0026eacute;dition li\u0026eacute;geoise souterraine\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAffichette \u0026laquo;CivilisaTion\u0026raquo;, addendum au n\u0026deg;7 de \u0026laquo;Total\u0026#39;s, l\u0026#39;\u0026eacute;dition li\u0026eacute;geoise souterraine\u0026raquo;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026quot;Charlier gaf ook \u003cem\u003eTotal\u0026rsquo;s\u0026nbsp;: la revue souterraine li\u0026eacute;geoise\u003c/em\u003e Luikse (Total\u0026rsquo;s: de Luikse underground revue) uit, een tijdschrift dat tussen 1965 en 1968 sporadisch verscheen. Het tijdschrift steunde de groep die bekend stond als de Total\u0026rsquo;s Club, die was opgericht door Jean-Marie Decheneux en Paul Dubar. Charlier nam samen met andere leden van de club deel aan happenings die vaak een politieke motivatie hadden. In een van de happenings zat ook een mars tegen kernwapens in Brussel, waar de leden rondliepen met een transparante vlag en met een verband over hun mond gekleefd. Op die manier steunden ze de demonstratie terwijl ze tegelijkertijd de theatraliteit van het protest hekelden.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003eLiesbeth Decan, \u003cem\u003eConceptual, Surrealist, Pictorial: Photo-based Art in Belgium (1960s \u0026ndash; early 1990s)\u003c/em\u003e, Leuven University Press, 2016, p. 45\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eTotal\u0026#39;s n\u0026deg; pirate, la bonne parole li\u0026eacute;geoise\u003c/p\u003e\r\n\r\n\u003cp\u003eTotal\u0026#39;s n\u0026deg;1, L\u0026#39;\u0026eacute;dition souterraine li\u0026eacute;geoise,\u003c/p\u003e\r\n\r\n\u003cp\u003eTotal\u0026#39;s n\u0026deg;7, L\u0026#39;\u0026eacute;dition li\u0026eacute;geoise souterraine\u003c/p\u003e\r\n\r\n\u003cp\u003eTotal\u0026#39;s, n\u0026deg;2. Affichette - invitation\u003c/p\u003e\r\n\r\n\u003cp\u003eTract Total\u0026#39;s T\u0026#39;, un monde de super-machine, par Jacques Charlier\u003c/p\u003e\r\n\r\n\u003cp\u003eTotalistes pr\u0026eacute;sentant le n\u0026deg;7 de \u0026laquo;Total\u0026#39;s, l\u0026#39;\u0026eacute;dition li\u0026eacute;geoise souterraine\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAffichette \u0026laquo;CivilisaTion\u0026raquo;, addendum au n\u0026deg;7 de \u0026laquo;Total\u0026#39;s, l\u0026#39;\u0026eacute;dition li\u0026eacute;geoise souterraine\u0026raquo;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Charlier a \u0026eacute;galement publi\u0026eacute; \u003cem\u003eTotal\u0026rsquo;s\u0026nbsp;: the Li\u0026egrave;ge Underground Journal\u003c/em\u003e [Total\u0026rsquo;s\u0026nbsp;: la revue souterraine li\u0026eacute;geoise] \u0026ndash; une revue publi\u0026eacute;e de fa\u0026ccedil;on sporadique entre\u0026nbsp;1965 et\u0026nbsp;1968. Le magazine apportait son soutien au groupe connu sous le nom de Total\u0026rsquo;s club, fond\u0026eacute; par Jean-Marie Decheneux et Paul Dubar. Charlier et d\u0026rsquo;autres membres du club ont particip\u0026eacute; \u0026agrave; des happenings qui avaient souvent une motivation politique. Un des happenings comprenait une marche contre les armes nucl\u0026eacute;aires \u0026agrave; Bruxelles lors de laquelle les membres portaient un drapeau transparent et un bandage sur la bouche. Ainsi, ils soutenaient la manifestation, mais d\u0026eacute;non\u0026ccedil;aient \u0026agrave; la fois sa th\u0026eacute;\u0026acirc;tralit\u0026eacute;.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eLiesbeth Decan, \u003cem\u003eConceptual, Surrealist, Pictorial: Photo-based Art in Belgium (1960s \u0026ndash; early 1990s)\u003c/em\u003e, Leuven University Press, 2016, p. 45\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eTotal\u0026#39;s n\u0026deg; pirate, la bonne parole li\u0026eacute;geoise\u003c/p\u003e\r\n\r\n\u003cp\u003eTotal\u0026#39;s n\u0026deg;1, L\u0026#39;\u0026eacute;dition souterraine li\u0026eacute;geoise,\u003c/p\u003e\r\n\r\n\u003cp\u003eTotal\u0026#39;s n\u0026deg;7, L\u0026#39;\u0026eacute;dition li\u0026eacute;geoise souterraine\u003c/p\u003e\r\n\r\n\u003cp\u003eTotal\u0026#39;s, n\u0026deg;2. Affichette - invitation\u003c/p\u003e\r\n\r\n\u003cp\u003eTract Total\u0026#39;s T\u0026#39;, un monde de super-machine, par Jacques Charlier\u003c/p\u003e\r\n\r\n\u003cp\u003eTotalistes pr\u0026eacute;sentant le n\u0026deg;7 de \u0026laquo;Total\u0026#39;s, l\u0026#39;\u0026eacute;dition li\u0026eacute;geoise souterraine\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAffichette \u0026laquo;CivilisaTion\u0026raquo;, addendum au n\u0026deg;7 de \u0026laquo;Total\u0026#39;s, l\u0026#39;\u0026eacute;dition li\u0026eacute;geoise souterraine\u0026raquo;\u003c/p\u003e\r\n"}]},{"id":14573,"title":"Paysage artistique (editie 1/10)","dimensions":"","date_begin":"1970-01-01","material":"","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":"Privécollectie","cached_tag_list":"Jacques Charlier Photography Paysage artistique","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"paysage-artistique-editie-1-10","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/000/033/049/large/Jacques_Charlier__Paysage_artistique_1970_photo_M_HKAcc.jpg?1475234704","poster_credits":"image: (c) M HKA, Privécollectie","translations":[{"locale":"en","description":"\u003cp\u003eIt\u0026#39;s a bit the approach Mari\u0026euml;n, Magritte or Broodthaers have: the visual play with words.\u003c/p\u003e\r\n\r\n\u003cp\u003eJC: That\u0026rsquo;s true. Here, I am a prisoner of the Belgian tradition of James Ensor, through Magritte, Mari\u0026euml;n, Broodthaers and all. It\u0026#39;s stronger than me. But I don\u0026rsquo;t think about it! It\u0026#39;s a disturbing phenomenon. I have the same attraction for vulgarity; I have the same attraction for being always bathed in a popular, provincial atmosphere; because that\u0026#39;s what happens. You may notice that all these people have a kind of fascination and desire to stay in a very popular atmosphere... That\u0026#39;s the Caf\u0026eacute; du Commerce... It\u0026#39;s weird.\u003c/p\u003e\r\n\r\n\u003cp\u003eDo you have an explanation for this?\u003c/p\u003e\r\n\r\n\u003cp\u003eJC: My explanation \u0026ndash; that\u0026#39;s \u003cem\u003emy\u003c/em\u003e vision, mind you \u0026ndash; is that everything is so \u003cem\u003esilly\u003c/em\u003e in Belgium, [in such a way] subject to accident, to so-called surreal situations within the contexts in which we live, that it would be completely idiotic to look elsewhere. I live in a context so \u003cem\u003ecrazy\u003c/em\u003e from all points of view. There are things that never happen in larger [art] centres, it\u0026#39;s so \u003cem\u003estupid\u003c/em\u003e and it makes me laugh so much that it inspires me. I\u0026#39;m sure Magritte, walking trough the rue des Mimosas with his little pooch \u0026ndash; that he sees everything in the street. Ensor in Ostend, he is wedged into his street. When he goes to Paris, he falls on his face. He makes music, he makes his little things \u0026ndash; it is only now, in retrospect, that I tell to myself: it\u0026#39;s weird, this desire to always find a way round things, not only to counter the current, but to be against the artistic capitals. And if there is one guy who was against the artistic capital, surely it was Magritte. He had one hundred thousand reasons \u003cem\u003eless\u003c/em\u003e than me to live in Brussels at the time he was making his paintings.\u003c/p\u003e\r\n\r\n\u003cp\u003eYes, that\u0026#39;s what really struck me when I arrived in Belgium: this anarchic, anti-heroic attitude, even in small family anecdotes. [In France] they are always full of panache, but here, nobody takes them seriously.\u003c/p\u003e\r\n\r\n\u003cp\u003eIrmeline Lebeer, \u003cem\u003eTableaux sans histoires\u003c/em\u003e, dans\u0026nbsp;: Mus\u0026eacute;e d\u0026rsquo;Art Moderne de la Ville de Paris, L\u0026rsquo;art en Belgique \u0026ndash; Flandre et Wallonie au XXe si\u0026egrave;cle\u0026nbsp;: un point de vue, 13 d\u0026eacute;cembre 1990 \u0026ndash; 10 mars 1991, pp. 412 - 414\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet is een beetje de aanpak van Mari\u0026euml;n, Magritte, Broodthaers: het visuele spel met woorden.\u003c/p\u003e\r\n\r\n\u003cp\u003eJC: Da\u0026#39;s een feit. Op dat vlak ben ik een gevangene van de Belgische traditie van James Ensor, via Magritte, Mari\u0026euml;n, Broodthaers en al die zaken. Het is sterker dan mezelf. Maar ik ben er niet mee bezig! Het is een verontrustend fenomeen. Vulgariteit, me onderdompelen in de populaire provinciale cultuur, het heeft dezelfde aantrekkingskracht op mij. Want dat is wat er gebeurt. Je zal merken dat al die mensen een soort fascinatie en een verlangen hebben om in een heel populaire sfeer te blijven... Dat is het Caf\u0026eacute; du Commerce... Het is raar.\u003c/p\u003e\r\n\r\n\u003cp\u003eHeb je daar een verklaring voor?\u003c/p\u003e\r\n\r\n\u003cp\u003eJC: Mijn uitleg \u0026ndash; pas op, dat is \u003cem\u003emijn\u003c/em\u003e visie \u0026ndash; is dat alles zo \u003cem\u003eidioot\u003c/em\u003e is in Belgi\u0026euml;, [zodanig] onderworpen aan het toeval, aan zogezegd surrealistische situaties binnen de contexten waarin we leven, dat het compleet idioot zou zijn om elders te gaan zoeken. Ik leef binnen een context die op alle vlakken zo \u003cem\u003egeschift\u003c/em\u003e is. Er zijn dingen die nooit gebeuren in de grotere [kunst]centra, het is zodanig \u003cem\u003edwaas\u003c/em\u003e en het doet me zo lachen dat het me inspireert. Ik ben er zeker van dat Magritte, wandelend in de Mimosastraat met zijn straathondje \u0026ndash; dat hij alles op straat ziet. Ensor in Oostende, hij zit vast in zijn straat. Wanneer hij naar Parijs gaat, valt hij op zijn bek. Hij maakt muziek, maakt zijn kleine spullen \u0026ndash; het is nu pas, achteraf, dat ik tegen mezelf zeg dat het raar is, dit verlangen om aan alles een mouw te passen, niet alleen om tegen de stroom in te gaan, maar \u003cem\u003etegen\u003c/em\u003e de artistieke hoofdsteden. En als er iemand is die\u0026nbsp; tegen de artistieke hoofdstad was, dan wel Magritte. Hij had nog honderdduizend minder redenen dan ik om in Brussel te wonen in de tijd dat hij zijn schilderijen maakte.\u003c/p\u003e\r\n\r\n\u003cp\u003eJa, dat is wat me het meeste opviel toen ik in Belgi\u0026euml; aankwam: die anarchistische, anti-hero\u0026iuml;sche houding, zelfs tot in kleine familie-anekdotes. Bij ons [in Frankrijk] zitten ze altijd vol panache en hier neemt niemand ze ernstig.\u003c/p\u003e\r\n\r\n\u003cp\u003eIrmeline Lebeer, \u003cem\u003eTableaux sans histoires\u003c/em\u003e, dans\u0026nbsp;: Mus\u0026eacute;e d\u0026rsquo;Art Moderne de la Ville de Paris, L\u0026rsquo;art en Belgique \u0026ndash; Flandre et Wallonie au XXe si\u0026egrave;cle\u0026nbsp;: un point de vue, 13 d\u0026eacute;cembre 1990 \u0026ndash; 10 mars 1991, pp. 412 - 414\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eC\u0026rsquo;est un peu la d\u0026eacute;marche de Mari\u0026euml;n, de Magritte, de Broodthaers\u0026nbsp;: le jeu de mots visuel.\u003c/p\u003e\r\n\r\n\u003cp\u003eJC\u0026nbsp;: Ca, c\u0026rsquo;est un fait. L\u0026agrave;, je suis prisonnier de la tradition belge de James Ensor en passant par Magritte, de Mari\u0026euml;n, Broodthaers et tout \u0026ccedil;a. C\u0026rsquo;est plus fort que moi. Mais je n\u0026rsquo;y pense pas\u0026nbsp;! C\u0026rsquo;est un ph\u0026eacute;nom\u0026egrave;ne troublant. J\u0026rsquo;ai le m\u0026ecirc;me\u0026nbsp; attrait pour la vulgarit\u0026eacute;, j\u0026rsquo;ai le m\u0026ecirc;me attrait pour le fait d\u0026rsquo;\u0026ecirc;tre toujours baign\u0026eacute; dans la province populaire\u0026nbsp;; parce que c\u0026rsquo;est \u0026ccedil;a qui passe. Tu peux remarquer que tous ces gens ont une esp\u0026egrave;ce de fascination et de volont\u0026eacute; de rester dans une ambiance tr\u0026egrave;s populaire\u0026hellip;c\u0026rsquo;est le Caf\u0026eacute; du Commerce, \u0026hellip; c\u0026rsquo;est bizarre.\u003c/p\u003e\r\n\r\n\u003cp\u003eTu as une explication de ce ph\u0026eacute;nom\u0026egrave;ne\u0026nbsp;?\u003c/p\u003e\r\n\r\n\u003cp\u003eJC\u0026nbsp;: Mon explication, - c\u0026rsquo;est \u003cem\u003ema\u003c/em\u003e vision, remarque \u0026ndash; c\u0026rsquo;est que tout est tellement idiot en Belgique, sujet \u0026agrave; accident, \u0026agrave; situations dites surr\u0026eacute;alistes dans les contextes dans lesquels on vit que ce serait compl\u0026egrave;tement idiot d\u0026rsquo;aller chercher ailleurs. Moi je vis dans un contexte tellement \u003cem\u003efou\u003c/em\u003e, \u0026agrave; tous points de vue\u0026nbsp;: il y a des trucs qui n\u0026rsquo;arrivent jamais dans les grands centres, tellement c\u0026rsquo;est \u003cem\u003econ\u003c/em\u003e et \u0026ccedil;a me fait tellement rire que \u0026ccedil;a m\u0026rsquo;inspire. Je suis s\u0026ucirc;r que Magritte rue des Mimosas avec son petit cabot il se ballade, il voit tout dans la rue. Ensor, \u0026agrave; Ostende, il est cal\u0026eacute; dans sa rue\u0026nbsp;; quand il va \u0026agrave; Paris, il se casse la gueule. Il fait de la musique, il fait ses petits machins \u0026ndash; ce n\u0026rsquo;est que maintenant avec le recul que je me dis\u0026nbsp;:c\u0026rsquo;est bizarre cette volont\u0026eacute; d\u0026rsquo;emmancher tout l\u0026rsquo;un dans l\u0026rsquo;autre, et non seulement \u0026agrave; contre-courant, mais \u003cem\u003econtre\u003c/em\u003e les capitales artistiques. Et s\u0026rsquo;il y a bien un type qui \u0026eacute;tait contre la capitale artistique, c\u0026rsquo;\u0026eacute;tait Magritte. Il avait encore cent mille raisons de moins que moi de vivre \u0026agrave; Bruxelles \u0026agrave; l\u0026rsquo;\u0026eacute;poque o\u0026ugrave; il faisant ses tableaux.\u003c/p\u003e\r\n\r\n\u003cp\u003eOui, c\u0026rsquo;est ce qui m\u0026rsquo;a le plus frapp\u0026eacute;e lorsque je suis arriv\u0026eacute;e en Belgique\u0026nbsp;: c\u0026rsquo;est cette attitude anarchique, anti-h\u0026eacute;ro\u0026iuml;que, et jusque dans les petites anecdotes familiales \u0026ndash;chez nous elles sont toujours pleines de panache et ici personne ne se prend au s\u0026eacute;rieux.\u003c/p\u003e\r\n\r\n\u003cp\u003eIrmeline Lebeer, \u003cem\u003eTableaux sans histoires\u003c/em\u003e, dans\u0026nbsp;: Mus\u0026eacute;e d\u0026rsquo;Art Moderne de la Ville de Paris, L\u0026rsquo;art en Belgique \u0026ndash; Flandre et Wallonie au XXe si\u0026egrave;cle\u0026nbsp;: un point de vue, 13 d\u0026eacute;cembre 1990 \u0026ndash; 10 mars 1991, pp. 412 - 414\u003c/p\u003e\r\n"}]},{"id":15622,"title":"Peinture Cérébrale","dimensions":"","date_begin":"1989-01-01","material":"","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 Province de Hainaut / Dépôt BPS22, Charleroi","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"peinture-cerebrale","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e1988 stellt er unter einem Pseudonym \u003cem\u003ePeintures-Schilderijen\u003c/em\u003e vor. Eine Kollektion von 15 K\u0026uuml;nstlern, die von A bis Z erfunden sind (sogar die Lebensl\u0026auml;ufe), um eine neue Stilrichtung zu schaffen, Verwirrung zu stiften und die k\u0026uuml;nstlerischen Str\u0026ouml;me in einer implosiven Umwelt auszulegen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIn dieser Zeit schafft er gro\u0026szlig;e Werke, in denen Malerei und Objekte mit einem allgemeinen Thema verbunden werden. Er unterstreicht die Manipulation, zu der Bilder dienen k\u0026ouml;nnen, auch in der Kunst. Der Humor und die poetische Erinnerung tragen jedoch dazu bei, dass das Werk nicht unn\u0026ouml;tig moralisch auftritt. Anhand\u0026nbsp; des Adjektivs \u0026laquo;\u0026nbsp;zerebral\u0026nbsp;\u0026raquo;, das sehr oft von der Kunstkritik genutzt wird, denkt er sich den entsprechenden Malereistil aus, der sich darauf bezieht, und f\u0026uuml;gt ein Hirn aus Keramik auf einem Sockel hinzu.\u003c/p\u003e\r\n","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":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/000/036/985/large/2017_SUPERDEMOCRATIE_Senaat_photo_M_HKA_6_28.jpg?1506685971","poster_credits":"image: (c) M HKA, Collection Province de Hainaut / Dépôt BPS22, Charleroi.","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eIn 1988, under a pseudonym, he presents \u003cem\u003ePeintures-Schilderijen\u003c/em\u003e, a collection of 15 artists invented from scratch (with supporting biographies) with as proclaimed objective to break with styles, creating confusion and interpreting artistic currents in implosive scenarios.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIt is during that period that he made his large installations combining painting and objects, around general themes, emphasising the manipulations that images can serve, including in the artistic field. Humour and poetic evocation, however, prevent the work from appearing unnecessarily moralizing. Thus, from the adjective \u0026lsquo;cerebral\u0026rsquo;, often used by art critics, he imagines the pictorial painting style referring to it and adds a ceramic brain, placed on a pedestal.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eIn 1988 stelt Jacques Charlier onder een pseudoniem \u003cem\u003ePeintures-Schilderijen \u003c/em\u003evoor. Hij stelt een collectie samen van 15 volledig verzonnen kunstenaars (compleet met fictieve biografie\u0026euml;n) met als duidelijk doel om de stijlen te breken, verwarring te zaaien en de kunststromingen op een implosieve manier te interpreteren.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHet is in die periode dat hij grote installaties maakt waarbij schilderkunst en objecten samenkomen, rond een algemeen thema, waarbij de nadruk ligt op de manipulaties die met beelden mogelijk worden, ook in het domein van de kunst. Humor en po\u0026euml;zie zorgen ervoor dat dit werk niet onnodig moraliserend is. Door het woord \u0026ldquo;c\u0026eacute;r\u0026eacute;bral\u0026rdquo; te gebruiken (een woord dat vaak door kunstcritici wordt gebruikt), roept hij de schilderstijl op die hiermee geassocieerd wordt, hierbij zet hij een stel hersenen in keramiek, op een sokkel.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eEn 1988, sous le couvert d\u0026rsquo;un pseudonyme, il pr\u0026eacute;sente \u003cem\u003ePeintures-Schilderijen\u003c/em\u003e. Une collection de 15 artistes invent\u0026eacute;s de toutes pi\u0026egrave;ces (biographies \u0026agrave; l\u0026rsquo;appui) dans le but affirm\u0026eacute; de casser les styles, de cr\u0026eacute;er la confusion et d\u0026rsquo;interpr\u0026eacute;ter les courants artistiques dans des sc\u0026eacute;narios implosifs.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eC\u0026rsquo;est \u0026agrave; cette p\u0026eacute;riode qu\u0026rsquo;il r\u0026eacute;alise ses grandes installations qui associent peinture et objets, autour de th\u0026egrave;mes g\u0026eacute;n\u0026eacute;raux. souligne les manipulations que\u0026nbsp;les images peuvent servir, y compis dans le domaine artistique. L\u0026rsquo;humour et l\u0026rsquo;\u0026eacute;vocation po\u0026eacute;tique \u0026eacute;vitent toutefois \u0026agrave; l\u0026rsquo;\u0026oelig;uvre d\u0026rsquo;appara\u0026icirc;tre inutilement moralisatrice. Ainsi, \u0026agrave; partir de l\u0026rsquo;adjectif \u0026laquo;\u0026nbsp;c\u0026eacute;r\u0026eacute;bral\u0026nbsp;\u0026raquo;, souvent utilis\u0026eacute;\u0026nbsp;par la critique d\u0026rsquo;art, il imagine le style pictural\u0026nbsp;s\u0026rsquo;y r\u0026eacute;f\u0026eacute;rant et lui adjoint un cerveau en c\u0026eacute;ramique, pos\u0026eacute; sur un socle.\u003c/p\u003e\r\n"}]},{"id":18379,"title":"Jacques Charlier 'Plinthure is Plinthure'. Musique - Plinthure (Peinture folle - Musique sérieuse)","dimensions":"21 x 14.7 cm, language : French, publisher : ICC/Internationaal Cultureel Centrum, Antwerpen","date_begin":"1981-01-01","material":"Ink, paper","short_description":"\u003cp\u003eICC publication, n\u0026deg;213.\u003c/p\u003e\r\n\r\n\u003cp\u003eArtist publication.\u003c/p\u003e\r\n\r\n\u003cp\u003eAuthor : Jacques Charlier.\u003c/p\u003e\r\n\r\n\u003cp\u003eExhibition : ICC/Internationaal Cultureel Centrum, Antwerpen (5.9. - 4.10.1981).\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":"Artist publication ; Artist book ; Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2028/974","stream_count_app":6,"permalink":"jacques-charlier-plinthure-is-plinthure-musique-plinthure-peinture-folle-musique-serieuse","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/000/039/989/medium_500/20180313104307791_0001.jpg?1520934275","cached_actor_names":"Jacques Charlier","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/000/039/989/large/20180313104307791_0001.jpg?1520934275","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":19902,"title":"Zonder titel","dimensions":"","date_begin":"2013-01-01","material":"","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":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"zonder-titel-6931dae7-2978-4c50-a2f3-1f44e6d7ed78","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/000/041/428/medium_500/WP_2014-_0001.jpg?1532519587","cached_actor_names":"Jacques Charlier","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/000/041/428/large/WP_2014-_0001.jpg?1532519587","poster_credits":"image: (c) Willy Peeters","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eJacques Charlies is self-thought, and closely studies art history, the art market and the current clich\u0026eacute;s about the avant-garde since the beginning of his artistic career. By teaching himself various artistic techniques and styles, he tries to break through the mythical nature of today\u0026rsquo;s art(market) in his works.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFor \u003cem\u003eMiddle Gate Geel \u0026rsquo;13, \u003c/em\u003ethe artist used many images, pictures and objects from both his personal day to day surroundings as well as from the public surroundings. These materials were put together in one space giving the viewer the feeling of a mis\u0026egrave;re sc\u0026egrave;ne that was tinkered with.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eAs early as the early sixties, he started creating mise-en-sc\u0026egrave;nes, usually with disregarded objects. In these installations he would regularly use pictures as a reaction to the reigning culture of Pop Art and Nouveau Realism and the mass consumerism and the throw away culture of our society. In the eighties he infused his works with satire and mockery against the prevailing art world: old and forgotten paintings would receive the signature of a made up artist; he would analyse the biographies of artist in details and write art criticism, only to sign with the name of a made up art critic. Due to his typical staging of women (both in pictures and paintings) and his satirical view of the world, Charlier is often compared with F\u0026eacute;licien Rops, also called the \u0026ldquo;devilish artist of the 19th century\u0026rdquo;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe autodidact Jacques Charlier bestudeert de kunstgeschiedenis, de kunstmarkt en de huidige clich\u0026eacute;s over de avant-garde al sinds het begin van zijn artistieke carri\u0026egrave;re nauwgezet. Door zichzelf vervolgens diverse artistieke technieken en stijlen toe te eigenen, tracht hij via zijn kunstpraktijk het \u0026lsquo;aura en de mythe van de kunst(markt)\u0026rsquo; te verbrijzelen.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eVoor \u003cem\u003eMiddle Gate Geel \u0026rsquo;13\u003c/em\u003e ging hij aan de slag met talrijke beelden, foto\u0026rsquo;s en objecten uit enerzijds zijn dagelijkse (private) omgeving en anderzijds uit de publieke sfeer. Deze materialen bracht hij onder in een ruimte: een grote \u0026lsquo;gebricoleerde mise-en-sc\u0026egrave;ne\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eReeds in de vroege jaren zestig begon hij \u0026lsquo;mise-en-sc\u0026egrave;nes\u0026rsquo; te maken, meestal bestaande uit afgedankte objecten. Daarin betrok hij ook regelmatig foto\u0026rsquo;s die reageerden tegen zowel kunststromingen zoals de Pop Art en het Nouveau Realisme, als tegen de wegwerp- en consumptiemaatschappij. In de jaren tachtig volgde hij voornamelijk het spoor van de persiflage en de satire ten aanzien van de kunstwereld: oude en vergeten schilderijen signeerde hij bijvoorbeeld met handtekeningen van denkbeeldige kunstenaars; biografie\u0026euml;n van kunstenaars analyseerde hij nauwkeurig en soms schreef hij zelfs kunstkritieken die hij vervolgens ondertekende met namen van alweer denkbeeldige kunstcritici. Door zijn typische ensceneringen van vrouwen (zowel op foto en schilderij) en zijn satirische kijk op de wereld wordt Charlier ook wel eens in verband gebracht met de kunstenaar F\u0026eacute;licien Rops, ook wel eens de \u0026lsquo;grote duivelse kunstenaar uit de 19e eeuw\u0026rsquo; genoemd.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":30635,"title":"Desperados Music","dimensions":"00:14:30","date_begin":"1979-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Videographie, une production RTBF Liège","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"desperados-music","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/000/074/964/medium_500/Charlier_Still.jpg?1632230545","cached_actor_names":"Jacques Charlier","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/000/074/964/large/Charlier_Still.jpg?1632230545","poster_credits":"Still: Jacques Charlier, Videographie, une production RTBF Liège","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":27134,"title":"Invite Id'A Screen Machine","dimensions":"ca. 10 x 10 cm","date_begin":"1986-01-01","material":"paper, ink (printing)","short_description":"\u003cp\u003eInvitation\u0026nbsp; by Screen Machine\u0026nbsp; to a party in connection with \u0026quot;Initiatief d\u0026#39;Amis\u0026quot; in the Vooruit, Gent - JL did an installation in the Majolicazaal\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":113,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerpen - Schenking Samarkand, 2019","cached_tag_list":"Mail Art Graphic art pamflet publication","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":33,"permalink":"invite-id-a-screen-machine","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/000/060/710/medium_500/ssBlue2JL048.jpg?1598271778","cached_actor_names":"Jef Lambrecht, Dominique Grégoire , Jacques Lizène, Jacques Charlier, George Smits, Baudouin Oosterlynck, Hugo Roelandt","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/000/060/710/large/ssBlue2JL048.jpg?1598271778","poster_credits":"M HKA","translations":[{"locale":"en","description":"\u003cp\u003eInvitation\u0026nbsp; by Screen Machine\u0026nbsp; to a party in connection with \u0026quot;Initiatief d\u0026#39;Amis\u0026quot; in the Vooruit, Gent - JL did an installation in the Majolicazaal\u0026nbsp; -\u0026nbsp; initially a BIWA project but the scene of the first major breakup of the collaboration until 1988...\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eUitnodiging door Screen Machine voor een party ivm \u0026quot;Intitiatief d\u0026#39;Amis\u0026quot; in het Vooruit, Gent, JL deed daar een installatie in de Majolicazaal... het moest een BIWA optreden zijn maar was in feiter de eerste \u0026#39;breuk\u0026#39; tussen de directeuren (tot 1988)\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":31242,"title":"Hard Music, Art in another way, etc...","dimensions":"","date_begin":"1975-01-01","material":"","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":"Courtesy Jacques Charlier","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1987-01-01","reference":"","stream_count_app":8,"permalink":"hard-music-art-in-another-way-etc","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/000/075/214/medium_500/20210909_MUHKA10790_web2.jpg?1632827447","cached_actor_names":"Jacques Charlier","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/000/075/214/large/20210909_MUHKA10790_web2.jpg?1632827447","poster_credits":"image: © We Document Art, Courtesy Jacques Charlier","translations":[{"locale":"en","description":"\u003cp\u003eTop Frame 1 (left to right, top to bottom): Desperados Music, Vid\u0026eacute;ographie, Li\u0026egrave;ge, 1979; Art in another way, ICC Antwerpen, 1980; Regressive Music, Le Lion sans voiles, Li\u0026egrave;ge, 1984 ; Desperados Music, Vid\u0026eacute;ographie, Li\u0026egrave;ge, 1979 ; Desperados Music, Cirque Divers, Li\u0026egrave;ge, 1977 ; Desperados Music, Cirque Divers, Li\u0026egrave;ge, 1977 ; Desperados Music, Cirque Divers, Li\u0026egrave;ge, 1977 ; Chansons tristes, Cirque Divers, Li\u0026egrave;ge, 1987 ; Regressive Music 1984, avec Martine Doutreleau; Hard Music, galerie Vega, 1975 ; Salto/arte, Place Flagey Bruxelles, 1975 ; Hard Music, galerie Vega, 1975\u003c/p\u003e\r\n\r\n\u003cp\u003eTop Frame 2 (left to right, top to bottom): Art in another way, T\u0026rsquo; Venster, Rotterdam 1978, avec Henri Dalem ; Art in another way, T\u0026rsquo; Venster, Rotterdam 1978, avec Henri Dalem; Desperados Music, Videographie, Li\u0026egrave;ge, 1979 ; Projet de pochette Hart\u0026rsquo;Music 1975 ; Desperados Music, Vid\u0026eacute;ographie, Li\u0026egrave;ge, 1979 ; Hart\u0026rsquo;Music I, galerie Vega Li\u0026egrave;ge, 1975 ; Desperados Music, Vid\u0026eacute;ographie, Li\u0026egrave;ge, 1979\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eKader 1 (vlnr, van boven naar beneden) : Desperados Music, Vid\u0026eacute;ographie, Li\u0026egrave;ge, 1979; Art in another way, ICC Antwerpen, 1980; Regressive Music, Le Lion sans voiles, Li\u0026egrave;ge, 1984 ; Desperados Music, Vid\u0026eacute;ographie, Li\u0026egrave;ge, 1979 ; Desperados Music, Cirque Divers, Li\u0026egrave;ge, 1977 ; Desperados Music, Cirque Divers, Li\u0026egrave;ge, 1977 ; Desperados Music, Cirque Divers, Li\u0026egrave;ge, 1977 ; Chansons tristes, Cirque Divers, Li\u0026egrave;ge, 1987 ; Regressive Music 1984, avec Martine Doutreleau; Hard Music, galerie Vega, 1975 ; Salto/arte, Place Flagey Bruxelles, 1975 ; Hard Music, galerie Vega, 1975\u003c/p\u003e\r\n\r\n\u003cp\u003eKader 1 (vlnr, van boven naar beneden) : Art in another way, T\u0026rsquo; Venster, Rotterdam 1978, avec Henri Dalem ; Art in another way, T\u0026rsquo; Venster, Rotterdam 1978, avec Henri Dalem; Desperados Music, Videographie, Li\u0026egrave;ge, 1979 ; Projet de pochette Hart\u0026rsquo;Music 1975 ; Desperados Music, Vid\u0026eacute;ographie, Li\u0026egrave;ge, 1979 ; Hart\u0026rsquo;Music I, galerie Vega Li\u0026egrave;ge, 1975 ; Desperados Music, Vid\u0026eacute;ographie, Li\u0026egrave;ge, 1979\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eFrame 1 (left to right, top to bottom): Desperados Music, Vid\u0026eacute;ographie, Li\u0026egrave;ge, 1979; Art in another way, ICC Antwerpen, 1980; Regressive Music, Le Lion sans voiles, Li\u0026egrave;ge, 1984 ; Desperados Music, Vid\u0026eacute;ographie, Li\u0026egrave;ge, 1979 ; Desperados Music, Cirque Divers, Li\u0026egrave;ge, 1977 ; Desperados Music, Cirque Divers, Li\u0026egrave;ge, 1977 ; Desperados Music, Cirque Divers, Li\u0026egrave;ge, 1977 ; Chansons tristes, Cirque Divers, Li\u0026egrave;ge, 1987 ; Regressive Music 1984, avec Martine Doutreleau; Hard Music, galerie Vega, 1975 ; Salto/arte, Place Flagey Bruxelles, 1975 ; Hard Music, galerie Vega, 1975\u003c/p\u003e\r\n\r\n\u003cp\u003eFrame 1 (left to right, top to bottom): Art in another way, T\u0026rsquo; Venster, Rotterdam 1978, avec Henri Dalem ; Art in another way, T\u0026rsquo; Venster, Rotterdam 1978, avec Henri Dalem; Desperados Music, Videographie, Li\u0026egrave;ge, 1979 ; Projet de pochette Hart\u0026rsquo;Music 1975 ; Desperados Music, Vid\u0026eacute;ographie, Li\u0026egrave;ge, 1979 ; Hart\u0026rsquo;Music I, galerie Vega Li\u0026egrave;ge, 1975 ; Desperados Music, Vid\u0026eacute;ographie, Li\u0026egrave;ge, 1979\u003c/p\u003e\r\n"}]},{"id":31243,"title":"Terril","dimensions":"","date_begin":"1978-01-01","material":"","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":"Courtesy Jacques 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Matthys, Frans Masereel, Marcel Maeyer, Marc Maet, Octave Landuyt, Jean-Jacques Gailliard, Jean-Michel Folon, James Ensor , Lili Dujourie, Karel Dierickx, Yves De Smet, Paul Delvaux, Raoul De Keyser, Franky DC, Leo Copers, Willem Cole, Jacques Charlier, Jan Burssens, Bram Bogart, Jean Bilquin, Pierre Alechinsky, Francky Cane ","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/000/089/817/large/198904_001.jpg?1682501508","poster_credits":"Scan: CKV","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]}]