[{"id":207,"title":"Zwei Fraulein mit leuchtenden Brot","dimensions":"72 x 20 x 1.5 cm","date_begin":"1966-01-01","material":"cardboard, paper, chocolate with oil colour","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEdition: 500, not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003e30 copies of the edition signed and numbered as special edition\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Typos Verlag, Frankfurt\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":18,"permalink":"zwei-fraulein-mit-leuchtenden-brot","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eZwei Fr\u0026auml;ulein mit leuchtendem Brot\u003c/em\u003e besteht aus zwei mit Schreibmaschine geschriebenen Listen, zwischen denen sich ein St\u0026uuml;ck bemalte Schokolade befindet. Die erste Liste enth\u0026auml;lt drei\u0026szlig;ig Begriffe, bei denen es sich um Namen von Pariser Metrostationen handelt. Die zweite Liste (unter dem Schokoladenriegel) beginnt mit den Worten \u0026bdquo;zur\u0026uuml;ck \u0026uuml;ber\u0026ldquo; und scheint vollkommen willk\u0026uuml;rlich. Da der letzte Begriff \u0026bdquo;\u003cem\u003eT\u0026eacute;l\u0026eacute;graphe\u0026ldquo; \u003c/em\u003emit dem ersten Begriff auf der ersten Liste \u0026uuml;bereinstimmt, liegt die Vermutung nahe, dass es sich um eine Rundreise handeln k\u0026ouml;nnte.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eBeuys hat angegeben, dass der erste Teil der Reise \u0026bdquo;unterirdisch\u0026ldquo; ist (die tiefere Bedeutung der Materie) und dass der zweite Teil sich \u0026bdquo;im freien Licht\u0026ldquo; abspielt (der h\u0026ouml;here Bereich des Geistigen) Die Schokolade, die die zwei Teile der Reise trennt, ist mit brauner Farbe bedeckt, die Beuys oft benutzt. Durch das Bemalen der Schokolade bekommt sie eine neue Bedeutung. In diesem Fall wird sie zu einer Br\u0026uuml;cke zwischen den zwei Etappen und den zwei Bereichen auf der Liste.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 500, not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003e30 copies of the edition signed and numbered as special edition\u003c/p\u003e\r\n\r\n\u003cp\u003eTypos Verlag, Frankfurt\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/000/037/508/large/Pinakothek_Two_Maidens.jpg?1507715082","poster_credits":"(c)SABAM België, 2017 - photo: Courtesy Sammlung der Pinakothek der Moderne, München","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eTwo Young Women with Shining Bread\u003c/em\u003e\u0026nbsp;consists of two typewritten lists of words, separated by a piece of painted chocolate. The first list contains thirty destinations \u0026ndash; all station names from a map of the Paris Metro. The second list (underneath the bar of chocolate) starts with the words \u0026lsquo;back via\u0026rsquo; [\u003cem\u003ezur\u0026uuml;ck \u0026uuml;ber\u003c/em\u003e] and appears to be entirely random. However, the final entry \u0026lsquo;\u003cem\u003eT\u0026eacute;l\u0026eacute;graphe\u0026rsquo;\u003c/em\u003e is the first location on the first list, suggesting a circular journey.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eBeuys has suggested the first part of the journey takes place \u0026lsquo;underground\u0026rsquo; (the deeper meaning of matter) and the second leg is located in \u0026lsquo;open air\u0026rsquo; (the elevated realm of spirit).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe chocolate, separating the two parts of the journey, is coated in a brown paint, often used by Beuys. By painting the chocolate, it takes on a new meaning. In this case it becomes a bridge between the two stages and the two realms contained in the lists.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 500, not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003e30 copies of the edition signed and numbered as special edition\u003c/p\u003e\r\n\r\n\u003cp\u003eTypos Verlag, Frankfurt\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eZwei Fr\u0026auml;ulein mit leuchtendem Brot\u003c/em\u003e bestaat uit twee getypte woordenlijsten die opgesplitst zijn door een stuk geschilderde chocolade. De eerste lijst bevat dertig bestemmingen \u0026ndash; allemaal stationsnamen van een kaart van de Parijse Metro. De tweede lijst (onder de chocoladereep) begint met de woorden \u0026lsquo;terug via\u0026rsquo; [\u003cem\u003ezur\u0026uuml;ck \u0026uuml;ber\u003c/em\u003e] en lijkt volkomen willekeurig. Al is de laatste bestemming \u0026lsquo;\u003cem\u003eT\u0026eacute;l\u0026eacute;graphe\u0026rsquo;\u003c/em\u003e dezelfde als de eerste bestemming op de eerste lijst, het zou dus over een rondreis kunnen gaan.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eBeuys heeft aangegeven dat het eerste deel van de reis \u0026lsquo;ondergronds\u0026rsquo; plaatsvindt (de diepere betekenis van de materie) en dat het tweede deel zich in de \u0026lsquo;openlucht\u0026rsquo; bevindt (het verheven rijk van de geest).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe chocolade, die de twee delen van de reis scheidt, is bedekt met een bruine verf die Beuys vaak gebruikt. Door de chocolade te schilderen, krijgt het een nieuwe betekenis. In dit geval wordt het een brug tussen de twee etappes en de twee rijken op de lijst.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 500, not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003e30 copies of the edition signed and numbered as special edition\u003c/p\u003e\r\n\r\n\u003cp\u003eTypos Verlag, Frankfurt\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDeux Jeunes Femmes au Pain Etincelant\u003c/em\u003e\u0026nbsp;est constitu\u0026eacute; de deux listes de mots tap\u0026eacute;es \u0026agrave; la machine, s\u0026eacute;par\u0026eacute;es par un morceau de chocolat peint. La premi\u0026egrave;re liste contient trente destinations, toutes des noms de station d\u0026#39;une carte du m\u0026eacute;tro parisien. La deuxi\u0026egrave;me liste (en dessous de la barre de chocolat) comment par les mots \u0026lsquo;retour par\u0026rsquo; [\u003cem\u003ezur\u0026uuml;ck \u0026uuml;ber\u003c/em\u003e] et s\u0026#39;av\u0026egrave;re totalement al\u0026eacute;atoire. Toutefois, l\u0026#39;entr\u0026eacute;e finale \u0026lsquo;\u003cem\u003eT\u0026eacute;l\u0026eacute;graphe\u0026rsquo;\u003c/em\u003e est le premier lieu de la premi\u0026egrave;re liste, sugg\u0026eacute;rant un voyage circulaire.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eBeuys a donn\u0026eacute; \u0026agrave; penser que la premi\u0026egrave;re partie du voyage a lieu \u0026#39;sous terre\u0026#39; (la signification plus profonde de la mati\u0026egrave;re) et la seconde se situe \u0026#39;en plein-air\u0026#39; (le royaume \u0026eacute;lev\u0026eacute; de l\u0026#39;esprit).\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLe chocolat, qui s\u0026eacute;pare les deux parties du voyage, est recouvert de peinture brune, souvent utilis\u0026eacute;e par Beuys. En peignant le chocolat, ce dernier prend une nouvelle signification. Dans ce cas, il devient un pont entre les deux sc\u0026egrave;nes et les deux royaumes contenus dans les listes.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 500, not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003e30 copies of the edition signed and numbered as special edition\u003c/p\u003e\r\n\r\n\u003cp\u003eTypos Verlag, Frankfurt\u003c/p\u003e\r\n"}]},{"id":15476,"title":"Nein/Sicher","dimensions":"28 x 41 cm","date_begin":"1956-01-01","material":"pencil on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1866-01-01","reference":"","stream_count_app":14,"permalink":"nein-sicher","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":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/000/037/504/large/Nein-Sicher.jpg?1507709872","poster_credits":"(c)SABAM België, 2017 - photo: Dirk Pauwels, S.M.A.K., Gent","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9649,"title":"Joseph Beuys 'Eurasienstab'","dimensions":"30.3 x 21.4 cm, 92 p, language : German, French, Dutch, publisher : Galerie Anny De Decker, Antwerpen, ISBN : 90-6848-004-9","date_begin":"1987-01-01","material":"ink on 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":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1998/594","stream_count_app":17,"permalink":"joseph-beuys-eurasienstab","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":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/000/023/446/large/PAN_AM_BOOK_137_A.jpg?1400848508","poster_credits":"(c)SABAM België, 2017 - photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":15485,"title":"Rose für Direkte Demokratie","dimensions":"33.5 x ø 5 cm","date_begin":"1973-01-01","material":"graduated glass cylinder, with inscription","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEdition: unlimited: numbers 1-440 signed and numbered on certifiate, with handwritten addition \u0026quot;rose\u0026quot;, stamped\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Edition Staeck, Heidelberg\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003esymbol\u0026nbsp;for mysticism and revolution, the union of nature and science (Documenta 5)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":21,"permalink":"rose-fur-demohracie","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eIm Jahr 1972 richtete Beuys ein \u0026bdquo;politisches B\u0026uuml;ro\u0026ldquo; f\u0026uuml;r die \u0026bdquo;Organisation der direkten Demokratie durch Volksabstimmung\u0026ldquo; auf der \u003cem\u003edocumenta 5\u003c/em\u003e in Kassel ein. W\u0026auml;hrend der Ausstellung diskutierte Beuys mit Besuchern. Zusammen tauschten sie Ideen aus, wie sich die Gesellschaft durch kreatives Handeln ver\u0026auml;ndern l\u0026auml;sst, mit dem Schwerpunkt auf einem friedlichen Weg, \u0026uuml;ber den gesellschaftlicher Fortschritt verlaufen sollte. Die Rose und der Zylinder verweisen auf die Rose, die w\u0026auml;hrend der gesamten Dauer der Ausstellung auf dem Schreibtisch von Beuys stand, und auf die schmale Vase, in der sich die Rose befand. \u0026bdquo;Knospe und Bl\u0026uuml;te sind tats\u0026auml;chlich umgewandelte gr\u0026uuml;ne Bl\u0026auml;tter. Im Verh\u0026auml;ltnis zu den Bl\u0026auml;ttern und dem Stiel bedeutet die Bl\u0026uuml;te also eine Revolution, die sich aber ganz langsam durch Transformation und Evolution vollzieht.\u0026ldquo;\u003csup\u003e1\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003col\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cspan style=\"font-size:11px;\"\u003eBeuys in Caroline Tisdall,\u0026nbsp;\u003cem\u003eJoseph Beuys\u003c/em\u003e\u0026nbsp;(London: Thames \u0026amp; Hudson, 1979), 275.\u003c/span\u003e\u003c/li\u003e\r\n\u003c/ol\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: unlimited: numbers 1-440 signed and numbered on certifiate, with handwritten addition \u0026quot;rose\u0026quot;, stamped\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\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/000/034/932/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_45.jpg?1507816598","poster_credits":"(c)SABAM België, 2017 - Courtesy private collection, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eIn 1972 Beuys established a \u0026lsquo;political bureau\u0026rsquo; for the Organisation for\u0026nbsp;Direct Democracy Through Free Collective Referendum at documenta 5 in Kassel, Germany. Over the course of the exhibition Beuys engaged with the exhibition visitors, sharing ideas for reshaping society through creative activity, with the emphasis on a peaceful evolution to societal development. The rose and cylinder refer to the rose that stood on Beuys\u0026rsquo;s desk throughout the exhibition and the slender vase in which it was held. \u0026lsquo;Bud and bloom are in fact green leaves transformed. So in relation to the leaves and the stem the bloom is a revolution, although it grows through organic transformation and evolution.\u0026rsquo;\u003csup\u003e1\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csmall\u003e\u003csup\u003e1\u003c/sup\u003e\u0026nbsp;Beuys in Caroline Tisdall,\u0026nbsp;\u003cem\u003eJoseph Beuys\u003c/em\u003e\u0026nbsp;(London: Thames \u0026amp; Hudson, 1979), 275.\u003c/small\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: unlimited: numbers 1-440 signed and numbered on certifiate, with handwritten addition \u0026quot;rose\u0026quot;, stamped\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eIn 1972 richt Beuys een \u0026lsquo;politiek bureau\u0026rsquo; op voor de \u0026lsquo;Organisatie voor directe democratie via een vrij collectief referendum\u0026rsquo; op documenta 5 in Kassel, Duitsland. Gedurende de loop van de tentoonstelling trad Beuys in gesprek met bezoekers. Samen deelden ze idee\u0026euml;n voor de hervorming van de maatschappij door middel van creatieve activiteiten, met de nadruk op een vredige evolutie naar maatschappelijke ontwikkeling. De roos en de cilinder verwijzen naar de roos die de volledige duur van de tentoonstelling op het bureau van Beuys stond en de smalle vaas waarin de roos stond. \u0026lsquo;Knop en bloem zijn in feite een transformatie van groene bladeren. Dus, in vergelijking met de bladeren en de steel is de bloem een revolutie, hoewel deze groeit door een natuurlijke transformatie en evolutie.\u0026rsquo;\u003csup\u003e1\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csmall\u003e\u003csup\u003e1\u003c/sup\u003e Beuys in Caroline Tisdall,\u0026nbsp;\u003cem\u003eJoseph Beuys\u003c/em\u003e\u0026nbsp;(London: Thames \u0026amp; Hudson, 1979), 275.\u003c/small\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: unlimited: numbers 1-440 signed and numbered on certifiate, with handwritten addition \u0026quot;rose\u0026quot;, stamped\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eEn 1972, Beuys a fond\u0026eacute; un \u0026#39;bureau politique\u0026#39; pour l\u0026#39;Organisation pour la\u0026nbsp;\u003ca href=\"http://pinakothek-beuys-multiples.de/en/glossary/#direct-democracy\" title=\"Glossaire : Démocratie directe\"\u003eD\u0026eacute;mocratie Directe\u003c/a\u003e Par R\u0026eacute;f\u0026eacute;rendum Collectif Libre \u0026agrave; documenta 5 \u0026agrave; Kassel, en Allemagne. Au fil de l\u0026#39;exposition, Beuys s\u0026#39;est engag\u0026eacute; vis-\u0026agrave;-vis des visiteurs, partageant des id\u0026eacute;es pour r\u0026eacute;former la soci\u0026eacute;t\u0026eacute; gr\u0026acirc;ce \u0026agrave; l\u0026#39;activit\u0026eacute; cr\u0026eacute;ative, en mettant l\u0026#39;accent sur une \u0026eacute;volution paisible vers le d\u0026eacute;veloppement soci\u0026eacute;tal. La rose et le cylindre font r\u0026eacute;f\u0026eacute;rence \u0026agrave; la rose qui se trouvait sur le bureau de Beuys pendant toute la dur\u0026eacute;e de l\u0026#39;exposition et au vase \u0026eacute;lanc\u0026eacute; dans lequel elle reposait. \u0026#39;En fait, le bourgeon et la fleur sont des feuilles vertes transform\u0026eacute;es. Par cons\u0026eacute;quent, en rapport avec les feuilles et la tige, la fleur est une r\u0026eacute;volution, bien qu\u0026#39;elle croisse par le biais de la transformation organique et de l\u0026#39;\u0026eacute;volution.\u0026rsquo;\u003ca href=\"http://pinakothek-beuys-multiples.de/en/product/rose-for-direct-democracy/#fn2-696\" title=\" Beuys in ibid., 275.\"\u003e\u003csup\u003e1\u003c/sup\u003e\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003col\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cem\u003eBeuys in Caroline Tisdall,\u0026nbsp;\u003c/em\u003e\u003cem\u003eJoseph Beuys\u003c/em\u003e\u003cem\u003e\u0026nbsp;(Londres : Thames \u0026amp; Hudson, 1979), 275.\u003c/em\u003e\u003c/li\u003e\r\n\u003c/ol\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: unlimited: numbers 1-440 signed and numbered on certifiate, with handwritten addition \u0026quot;rose\u0026quot;, stamped\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n"}]},{"id":15475,"title":"Erdtelephon (Earth Telephone)","dimensions":"20 x 79 x 57 cm","date_begin":"1968-01-01","material":"telephone, cords, clump of earth with grass on wooden board","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","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e(20 x 75,9 x 48,9 cm)\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":14,"permalink":"erdtelephon","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eErdtelephon \u003c/em\u003eist eine der ersten Werke von Joseph Beuys die in der Wide White Space in Antwerpen ausgestellt wurden. Mit\u003cem\u003e Erdtelephon\u003c/em\u003e m\u0026ouml;chte Beuys zeigen dass Kr\u0026auml;fte auf Materie einwirken und zugleich geistige Prozesse in Gang setzen k\u0026ouml;nnen. Ein Telefon \u0026uuml;bertr\u0026auml;gt nicht nur elektro-akustische Signale sondern sorgt auf diese Weise auch f\u0026uuml;r den Austausch von Informationen zwischen zwei denkende Wesen. Beuys suggerierte dass wenn man ein Telefonger\u0026auml;t mit einem Erdklumpen verbindet, die Interaktion zwischen Natur und Technik eine Anregung f\u0026uuml;r kreatives Denken sein \u0026nbsp;kann.\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/000/037/321/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_15_23.jpg?1507813948","poster_credits":"(c)SABAM België, 2017 - Courtesy private collection, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eErdtelephon\u003c/em\u003e was one of Beuys\u0026rsquo; first works to be shown at Antwerp\u0026rsquo;s Wide White Space gallery. With \u003cem\u003eErdtelephon\u003c/em\u003e, Beuys wanted to show how matter can be utilised and it they can subsequently initiate mental processes. A telephone does not only convert electroacoustic signals: in so doing so, it also provides for the exchange of information between two sentient beings. By connecting the telephone to a lump of earth, Beuys suggested that interactions between nature and technology could aid creative thinking.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eErdtelephon\u003c/em\u003e is \u0026eacute;\u0026eacute;n van de eerste werken van Joseph Beuys die in de Wide White Space in Antwerpen getoond werden. Met \u003cem\u003eErdtelephon\u003c/em\u003e wilde Beuys tonen dat krachten op materie inwerken en tegelijk geestelijke processen op gang kunnen brengen. Een telefoon zet immers niet alleen elektroakoestische signalen om, maar zorgt op die manier ook voor het uitwisselen van informatie tussen twee denkende wezens. Door het telefoontoestel aan te sluiten op een klomp aarde suggereerde Beuys dat een wisselwerking tussen natuur en techniek kan aanzetten tot creatief denken.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eErdtelephon \u003c/em\u003eest l\u0026rsquo;une des premi\u0026egrave;res \u0026oelig;uvres que Beuys a expos\u0026eacute;es \u0026agrave; la galerie Wide White Space \u0026agrave; Anvers. Avec \u003cem\u003eErdtelephon\u003c/em\u003e, Beuys souhaitait d\u0026eacute;montrer que les forces agissent sur la mati\u0026egrave;re et qu\u0026rsquo;elles peuvent \u0026agrave; la fois d\u0026eacute;clencher des processus spirituels. Un t\u0026eacute;l\u0026eacute;phone ne transforme pas seulement des signaux \u0026eacute;lectroacoustiques, mais assure aussi l\u0026rsquo;\u0026eacute;change d\u0026rsquo;information entre deux \u0026ecirc;tres pensants. En connectant le t\u0026eacute;l\u0026eacute;phone \u0026agrave; une motte de terre, Beuys sugg\u0026eacute;rait qu\u0026rsquo;une interaction entre la nature et la technique peut inciter \u0026agrave; une pens\u0026eacute;e cr\u0026eacute;ative.\u003c/p\u003e\r\n"}]},{"id":15481,"title":"Evervess II","dimensions":"27 x 16.5 x 9.5 cm","date_begin":"1968-01-01","material":"wooden box, glass bottles","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private collection","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEdition: 40, not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Galerie R\u0026eacute;ne Block, Berlin\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":19,"permalink":"evervess","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDas Wort \u0026bdquo;Evervess\u0026ldquo; ist von dem englischen Wort \u0026bdquo;effervescence\u0026ldquo; abgeleitet, das Sprudeln bedeutet. Es bezeichnet den Prozess der Karbonisierung, bei dem die Eigenschaften einer Fl\u0026uuml;ssigkeit ver\u0026auml;ndert werden und sie in eine lebendige Substanz verwandelt wird.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDas Werk besteht aus zwei Sodawasserflaschen, die nebeneinander in einem Holzkasten stehen. Das Etikett auf einer der Flaschen ist mit Filz verdeckt. Der Text auf dem Deckel gibt eine genaue Anweisung \u0026uuml;ber die Funktionsweise des Multiples.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDer Zugang zu der in der Flasche gespeicherten Energie ist \u0026uuml;ber die Filzst\u0026uuml;cke m\u0026ouml;glich, sofern der Eigent\u0026uuml;mer die Integrit\u0026auml;t des Werks erhalten m\u0026ouml;chte.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 40, not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eGalerie R\u0026eacute;ne Block, Berlin\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/000/037/505/large/Evervess_II_1.jpg?1507710989","poster_credits":"(c)SABAM België, 2017 - photo: Dirk Pauwels, S.M.A.K., Gent","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe word \u0026lsquo;Evervess\u0026rsquo; is derived from \u0026lsquo;effervescence\u0026rsquo;, referring to carbonation, a process which changes the state of a liquid, giving it an almost animate quality.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe work is made up of two soda bottles, placed next to each other in a wooden container. The label on one of the bottles is covered by patches of grey felt. The cover of the piece gives instructions to the user on how the multiple should be activated.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eIf the owner of the multiple wishes to maintain the integrity of the piece, the energy inside can be tapped into through the felt patches.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 40, not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eGalerie R\u0026eacute;ne Block, Berlin\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eHet woord \u0026lsquo;Evervess\u0026rsquo; stamt af van het Engelse woord \u0026lsquo;effervescence\u0026rsquo;, wat bruisen betekend. Het concept heeft te maken met carbonatie, een proces dat de eigenschappen van een vloeistof verandert en voor een levendigheid zorgt.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHet werk bestaat uit twee frisdrankflessen, die naast elkaar in een houten houder staan. Het etiket op een van de flessen is bedekt met grijze vilten lapjes. Op het deksel staan gebruiksaanwijzingen over hoe de gebruiker de multipel kan activeren.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe energie die is opgeslagen in de fles wordt toegankelijk via de vilten lapjes, indien de eigenaar de integriteit van het werk wenst te behouden.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEditie: 40, niet gesigneerd, niet genummerd\u003c/p\u003e\r\n\r\n\u003cp\u003eGalerie R\u0026eacute;ne Block, Berlijn\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLe mot \u0026#39;Evervess\u0026#39; est d\u0026eacute;riv\u0026eacute; du mot \u0026#39;effervescence\u0026#39;, qui fait r\u0026eacute;f\u0026eacute;rence \u0026agrave; la carbonatation, un processus qui change l\u0026#39;\u0026eacute;tat d\u0026#39;un liquide, lui conf\u0026eacute;rant une qualit\u0026eacute; quasiment anim\u0026eacute;e.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eL\u0026#39;oeuvre est constitu\u0026eacute;e de deux bouteilles de soda, plac\u0026eacute;es l\u0026#39;une \u0026agrave; c\u0026ocirc;t\u0026eacute; de l\u0026#39;autre dans un conteneur en bois. L\u0026#39;\u0026eacute;tiquette sur l\u0026#39;une des bouteilles est couverte de pi\u0026egrave;ces de feutre vert gris. Le couvercle de la pi\u0026egrave;ce donne des instructions quant \u0026agrave; la mani\u0026egrave;re d\u0026#39;activer le multiple.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eSi le propri\u0026eacute;taire du multiple souhaite pr\u0026eacute;server l\u0026#39;int\u0026eacute;grit\u0026eacute; de la pi\u0026egrave;ce, l\u0026#39;\u0026eacute;nergie \u0026agrave; l\u0026#39;int\u0026eacute;rieur peut \u0026ecirc;tre exploit\u0026eacute;e \u0026agrave; travers les empi\u0026egrave;cements en feutre.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 40, not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eGalerie R\u0026eacute;ne Block, Berlin\u003c/p\u003e\r\n"}]},{"id":15484,"title":"Ja, Ja, Ja, Ja, Nee, Nee, Nee, Nee","dimensions":"15 x 15 x 25 cm","date_begin":"1970-01-01","material":"felt, tape recording","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEdition: 100 (+ 10 samples 17 x 34 x 34 cm), numbered, unsigned\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Gabriele Mazzotta Editore, Milan\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":17,"permalink":"je-je-je-je-nee-nee-nee-nee-feet-hope","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eKlicken Sie auf den Link, um die \u003cem\u003e\u003ca href=\"http://ubusound.memoryoftheworld.org/beuys_joseph/Beuys-Joseph_Ja-Ja-Ja.mp3\"\u003eJa-, Ja-, Ja-, Ja-, Nee-, Nee-, Nee-, Nee\u003c/a\u003e\u0026nbsp;\u003c/em\u003eAuff\u0026uuml;hrung von 1968 zu h\u0026ouml;ren.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDas Multiple \u003cem\u003eJa Ja Ja Ja Ja, Nee Nee Nee Nee Nee \u003c/em\u003ekommt aus der gleichnamigen Fluxus Performance von Joseph Beuys, Henning Christiansen und Johannes St\u0026uuml;ttgen an der D\u0026uuml;sseldorfer Akademie f\u0026uuml;r Bildende K\u0026uuml;nste 1968. Anl\u0026auml;sslich dieser Aktion wiederholen die drei K\u0026uuml;nstler eine Stunde lang den Satz in verschiedenem Tempo und Intonation. Der Text ist einen ironischen Hinweis auf typische Gespr\u0026auml;che \u0026ldquo;klatschender\u0026rdquo; alter Damen in den Stra\u0026szlig;en von Kleve. Auffallend wird hier das niederl\u0026auml;ndische \u0026ldquo;nee\u0026rdquo; verwendet wird statt das hochdeutsche \u0026ldquo;nein\u0026rdquo;.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003eEdition: 100 (+ 10 samples 17 x 34 x 34 cm), numbered, unsigned\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eGabriele Mazzotta Editore, Milan\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/000/034/931/large/Ja_Ja_Ja_Ja_Ja__Nee_Nee_Nee_Nee_Nee__1969_%282%29.jpg?1486982637","poster_credits":"(c)SABAM België, 2017 - Courtesy Private Collection","translations":[{"locale":"en","description":"\u003cp\u003eClick on the link to listen to the\u0026nbsp;\u003ca href=\"https://ubusound.memoryoftheworld.org/beuys_joseph/Beuys-Joseph_Ja-Ja-Ja.mp3\"\u003e\u003cem\u003eJ\u003c/em\u003e\u003c/a\u003e\u003cem\u003e\u003ca href=\"https://ubusound.memoryoftheworld.org/beuys_joseph/Beuys-Joseph_Ja-Ja-Ja.mp3\"\u003ea, Ja, Ja, Ja, Nee, Nee, Nee, Nee\u003c/a\u003e\u003c/em\u003e performance of 1968.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe multiple \u003cem\u003eJa, Ja, Ja, Ja, Nee, Nee, Nee, Nee\u003c/em\u003e results from the Fluxus performance of the same name by Joseph Beuys, Henning Christiansen and Johannes St\u0026uuml;ttgen at the D\u0026uuml;sseldorf Academy of Fine Arts in 1968. During the action, the three performers uttered the phrase \u0026ldquo;Ja Ja Ja Ja, Nee Nee Nee Nee\u0026rdquo; for an hour with varying speed and intonation. The text is an ironic reference to typical conversations between \u0026lsquo;gossiping\u0026rsquo; old ladies in the streets of Cleves. The work uses the \u0026lsquo;nee\u0026rsquo; of Dutch, instead of the \u0026lsquo;nein\u0026rsquo; of standard German.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 100 (+ 10 samples 17 x 34 x 34 cm), numbered, unsigned\u003c/p\u003e\r\n\r\n\u003cp\u003eGabriele Mazzotta Editore, Milan\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eKlik op de link om naar de performance \u003ca href=\"https://ubusound.memoryoftheworld.org/beuys_joseph/Beuys-Joseph_Ja-Ja-Ja.mp3\"\u003e\u003cem\u003eJ\u003c/em\u003e\u003c/a\u003e\u003cem\u003e\u003ca href=\"https://ubusound.memoryoftheworld.org/beuys_joseph/Beuys-Joseph_Ja-Ja-Ja.mp3\"\u003ea, Ja, Ja, Ja, Nee, Nee, Nee, Nee\u003c/a\u003e\u003c/em\u003e uit1968 te luisteren.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe multiple\u003cem\u003e Ja, Ja, Ja, Ja, Nee, Nee, Nee, Nee\u003c/em\u003e komt voort uit de gelijknamige Fluxus performance van Joseph Beuys, Henning Christiansen en Johannes St\u0026uuml;ttgen aan de Academie voor Schone Kunsten van D\u0026uuml;sseldorf in 1968. Tijdens deze actie spreken de drie uitvoerders de zin \u0026ldquo;Ja Ja Ja Ja , Nee Nee Nee Nee \u0026rdquo; een uur lang, met verschillende snelheid en intonatie, uit. De tekst is een ironische verwijzing naar typische gesprekken tussen \u0026lsquo;roddelende\u0026rsquo; oude dames in de straten van Kleef. Opvallend is dat hier het aan het Nederlands verwante \u0026lsquo;nee\u0026rsquo; werd gebruikt en niet het standaard Duitse \u0026lsquo;nein\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 100 (+ 10 samples 17 x 34 x 34 cm), numbered, unsigned\u003c/p\u003e\r\n\r\n\u003cp\u003eGabriele Mazzotta Editore, Milan\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCliquez sur le lien pour \u0026eacute;couter la performance \u0026nbsp;\u003ca href=\"https://ubusound.memoryoftheworld.org/beuys_joseph/Beuys-Joseph_Ja-Ja-Ja.mp3\"\u003e\u003cem\u003eJ\u003c/em\u003e\u003c/a\u003e\u003cem\u003e\u003ca href=\"https://ubusound.memoryoftheworld.org/beuys_joseph/Beuys-Joseph_Ja-Ja-Ja.mp3\"\u003ea, Ja, Ja, Ja, Nee, Nee, Nee, Nee\u003c/a\u003e\u003c/em\u003e de 1968.\u003c/p\u003e\r\n\r\n\u003cp\u003eLe multiple \u003cem\u003eJa, Ja, Ja, Ja, Nee, Nee, Nee, Nee\u003c/em\u003e provient de la performance Fluxus \u0026eacute;ponyme de Joseph Beuys, Henning Christiansen et Johannes St\u0026uuml;ttgen \u0026agrave; l\u0026rsquo;Acad\u0026eacute;mie des Beaux-Arts de D\u0026uuml;sseldorf en 1968. Pendant cette action, les trois ex\u0026eacute;cutants ont prononc\u0026eacute; la phrase \u003cem\u003eJa Ja Ja Ja , Nee Nee Nee Nee \u003c/em\u003ependant une heure enti\u0026egrave;re, \u0026agrave; des rythmes diff\u0026eacute;rents et avec des intonations diff\u0026eacute;rentes. Le texte est une r\u0026eacute;f\u0026eacute;rence ironique aux conversations typiques de vieilles dames qui cancanent dans les rues de Cl\u0026egrave;ves. Il est frappant de constater qu\u0026rsquo;on utilise ici le \u003cem\u003enee\u003c/em\u003e n\u0026eacute;erlandais et non le \u003cem\u003enein\u003c/em\u003e allemand.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 100 (+ 10 samples 17 x 34 x 34 cm), numbered, unsigned\u003c/p\u003e\r\n\r\n\u003cp\u003eGabriele Mazzotta Editore, Milan\u003c/p\u003e\r\n"}]},{"id":15472,"title":"Das Schweigen von Marcel Duchamp wird überbewertet","dimensions":"4 x 29.5 x 4 cm, 3 x 27 x 3 cm ","date_begin":"1964-01-01","material":"two brushes, wood, aluminium foil, paint","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","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"das-schweigen-von-marcel-duchamp","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eW\u0026auml;hrend der Aktion \u003cem\u003eDas Schweigen von Marcel Duchamp wird \u0026uuml;berbewertet \u003c/em\u003eim Jahre 1964 trug Joseph Beuys seine typische K\u0026uuml;nstleruniform: Jeanshose, Fischerjacke und Filzhut und verwendete er seine mit Schokolade gemischte \u0026lsquo;Braunkreuz\u0026rsquo;-Farbe um auf ein Plakat \u0026ldquo;Das Schweigen von Marcel Duchamp wird \u0026uuml;berbewertet\u0026rdquo; auf Deutsch zu schreiben. Die Aktion wurde live im deutschen Fernsehen gesendet. Mit dieser Aktion kritisierte Beuys die Entscheidung von Duchamp sich aus der Kunstwelt zur\u0026uuml;ckzuziehen und sich mit dem Schachspielen zu befassen. Nach Beuys ging Duchamp auf diese Weise die Verantwortlichkeit aus dem Weg um sich als K\u0026uuml;nstler sozial und politisch zu engagieren.\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/000/037/316/large/Duchamp.jpg?1507192730","poster_credits":"(c)SABAM België, 2017 - Courtesy private collection","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eDuring the action \u003cem\u003eDas Schweigen von Marcel Duchamp wird \u0026uuml;berbewertet\u003c/em\u003e from 1964, Joseph Beuys wore his renowned outfit \u0026ndash; jeans, fisherman\u0026rsquo;s vest and felt hat \u0026ndash; and used his \u0026#39;Braunkreuz\u0026#39;-paint mixed with chocolate together with these brushes to write the words of the title on a placard. The action was broadcast live on German television. It was Beuys\u0026rsquo; way to criticise Duchamp for his decision to withdraw from the art world and devote himself to chess. According to Beuys, in so doing, Duchamp ran away from the responsibility of engaging himself from the social and political responsibility of being an artist.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eTijdens de actie \u003cem\u003eDas Schweigen von Marcel Duchamp wird \u0026uuml;berbewertet\u003c/em\u003e in 1964 droeg Joseph Beuys zijn gekende kunstenaarsuniform: jeansbroek, vissersjas en vilten hoed en gebruikte hij zijn \u0026lsquo;Braunkreuz\u0026rsquo;-verf gemengd met chocolade om op een plakkaat in het Duits \u0026ldquo;Het zwijgen van Marcel Duchamp wordt overgewaardeerd\u0026rdquo; te schrijven. De actie werd live uitgezonden op de Duitse televisie. Met deze actie bekritiseerde Beuys de beslissing van Duchamp om zich uit de kunstwereld terug te trekken en zich toe te leggen op schaken. Volgens Beuys ontliep Duchamp op die manier de verantwoordelijkheid om zich als kunstenaar ook sociaal en politiek te engageren.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLors de l\u0026rsquo;action \u003cem\u003eDas Schweigen von Marcel Duchamp wird \u0026uuml;berbewertet\u003c/em\u003e en 1964, Joseph Beuys portait son c\u0026eacute;l\u0026egrave;bre uniforme d\u0026rsquo;artiste : jeans, veste et chapeau en feutre. Il a utilis\u0026eacute; sa peinture Braunkreuz m\u0026eacute;lang\u0026eacute;e \u0026agrave; du chocolat pour inscrire sur une plaque, en allemand : \u0026laquo; Le silence de Marcel Duchamp est surestim\u0026eacute; \u0026raquo;. L\u0026rsquo;action, diffus\u0026eacute;e en direct \u0026agrave; la t\u0026eacute;l\u0026eacute;vision allemande, est une critique de la d\u0026eacute;cision de Duchamp de se retirer du monde de l\u0026rsquo;art et de se consacrer aux \u0026eacute;checs. Selon Beuys, Duchamp a ainsi esquiv\u0026eacute; sa responsabilit\u0026eacute; d\u0026rsquo;artiste de s\u0026rsquo;engager sur le plan social et politique.\u003c/p\u003e\r\n"}]},{"id":15469,"title":"Joyce","dimensions":"45 x 65 cm","date_begin":"1961-01-01","material":"paint on cardboard, wire","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","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"joyce","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys hatte eine Vorliebe f\u0026uuml;r das Werk von James Joyce; in Interviews verwies er sogar auf ihn. Beuys behauptete, \u003cem\u003eFinnegans Wake\u003c/em\u003e gelesen zu haben, und hat mehrere Notizb\u0026uuml;cher mit Strichzeichnungen und Textfragmenten als Erg\u0026auml;nzung zu Joyces \u003cem\u003eUlysses \u003c/em\u003eversehen.\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/000/034/928/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_15_17.jpg?1507816418","poster_credits":"(c)SABAM België, 2017 - Courtesy Private Collection, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys had an affinity for the work of James Joyce, he even referred to him in interviews. Beuys claims to have read \u003cem\u003eFinnegans Wake\u003c/em\u003e and he filled several notebooks with line drawings and textual fragments for an extension to Joyce\u0026rsquo;s \u003cem\u003eUlysses\u003c/em\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys had een affiniteit voor het werk van James Joyce, hij verwijst zelfs naar Joyce in interviews. Beuys beweert \u003cem\u003eFinnegans Wake \u003c/em\u003ete hebben gelezen en vult enkele notitieboekjes met lijntekeningen en tekstfragmenten voor een uitbreiding van \u003cem\u003eUlysses\u003c/em\u003e van Joyce.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys avait une affinit\u0026eacute; avec l\u0026#39;oeuvre de James Joyce, il a m\u0026ecirc;me fait r\u0026eacute;f\u0026eacute;rence \u0026agrave; lui pendant des interviews. Beuys d\u0026eacute;clare avoir lu \u003cem\u003eFinnegans Wake\u003c/em\u003e et il a rempli plusieurs carnets de note avec des dessins \u0026agrave; base de lignes et des fragments de textes pour une extension \u0026agrave; \u003cem\u003eUlysses\u003c/em\u003e de Joyce.\u003c/p\u003e\r\n"}]},{"id":15634,"title":"Honigpumpe am Arbeitsplatz","dimensions":"variable dimensions ","date_begin":"1974-01-01","material":"electric motors, painted and unpainted metal, plastic tubes, glass, electronics and honey","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Louisiana Museum of Modern Art, Humlebaek, Denmark. Long-term loan Museumfondsen","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eXXX - https://www.youtube.com/watch?v=acHt6zxO74Y\u003c/p\u003e\r\n","date_end":"1977-01-01","reference":"","stream_count_app":18,"permalink":"honigpumpe-am-arbeitsplatz","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eBienen waren f\u0026uuml;r Joseph Beuys das Symbol f\u0026uuml;r gesellschaftliche Prozesse und Organisation und Honig war die Energie zur Verbesserung der Lebensqualit\u0026auml;t . Im Jahre 1977 realisierte Beuys \u003cem\u003eHonigpumpe am Arbeitsplatz \u003c/em\u003ef\u0026uuml;r Documenta 6 in Kassel. Es ist eine seiner bekanntesten Installationen und setzt das Konzept der sozialen Skulptur buchst\u0026auml;blich in die Praxis um. Zwei Schiffsmotoren pumpten zwei Tonnen verd\u0026uuml;nnten Honig durch ein Rohrsystem.\u0026nbsp; Gleichzeitig hatte die Bewegung der Motoren 100 Kg Butter erw\u0026auml;rmt. Die Installation war das schlagende Herz des Auditoriums der \u003cem\u003eFree International University\u003c/em\u003e, wo Beuys 100 Tage lang Lesungen, Unterhaltungen und Diskussionen organisierte im Zusammenarbeit mit B\u0026uuml;rgerinitiativen aus verschiedenen L\u0026auml;ndern zu Themen als Kreativit\u0026auml;t, Fortschritt und Wirtschaft.\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/000/037/452/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_7_4.jpg?1507633452","poster_credits":"(c)SABAM België, 2017 - Courtesy Louisiana Museum of Modern Art, Humlebaek, Denmark, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eBeuys\u0026rsquo; Eurasian world view is very much informed by the experience of war, born of the reflective era of Tr\u0026uuml;mmerliteratur (\u0026ldquo;rubble literature\u0026rdquo;), and thus his world view is to look incomprehensibly far beyond, and not to be isolationist. A trait we find very relevant in the crisis of today\u0026rsquo;s political climate, with rampant identitarian and nationalistic movements having emerged in many European nations and beyond. Beuys came to prominence in\u0026nbsp;parallel to the documenta exhibitions in Kassel, which is at its core an endeavour to open post-war Germany to the cultures of the world, albeit primarily to the paradigm of western Modernism. But it was there that Beuys made some of his most iconic projects, if we consider his works from consecutive editions of documenta\u0026mdash;\u003cem\u003eHonigpumpe am Arbeitsplatz\u003c/em\u003e (Honeypump in the Workplace) in 1977 and 7000 Eichen (7000 Oak Trees) in 1982\u0026mdash;which arguably remain iconic due to their striking anti-Modern approach to art, environment and communitarianism\u0026mdash;or \u0026ldquo;social sculpture\u0026rdquo;, as Beuys described it. We are delighted to consider works and actions such as these in our own exhibition, as a way to reflect on freedom and creativity.\u003c/p\u003e\r\n\r\n\u003cp\u003e(NH)\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eHet Euraziatische wereldbeeld van Beuys wordt mede bepaald door de ervaring van de oorlog, ontstaan in het reflecterende tijdperk van de Tr\u0026uuml;mmerliteratur (Kaalslagliteratuur). Zijn wereldbeeld is er daarom \u0026eacute;\u0026eacute;n van heel ver vooruitkijken en zich niet isolationistisch opstellen.\u0026nbsp;Een eigenschap die zeer relevant is in de context van de crisis van het huidige politieke klimaat, met ongebreidelde identitaire en nationalistische bewegingen in vele Europese landen en daarbuiten. Beuys\u0026#39; bekendheid groeide samen met de Documenta-tentoonstellingen in Kassel, die in essentie een poging waren om het naoorlogse Duitsland te openen voor de culturen van de wereld, zij het hoofdzakelijk voor het paradigma van het Westerse Modernisme. Het was echter daar dat Beuys een aantal van zijn meest iconische projecten maakte, zoals de o\u003cem\u003eHonigpumpe am Arbeitsplatz\u003c/em\u003e van 1977, die onmiskenbaar iconisch blijft\u0026nbsp;vanwege de opvallende anti-moderne benadering van kunst, milieu en communitarisme - of \u0026#39;sociaal beeldhouwwerk\u0026#39; zoals Beuys het omschreef.\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e(NH)\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":15641,"title":"Filzanzug","dimensions":"170 x 60 cm","date_begin":"1970-01-01","material":"felt suit, wood hanger","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":"Hall Art Foundation, NY, USA","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEdition: 100 + 10 h.c., numbered, not signed\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Galerie R\u0026eacute;ne Block, Berlin\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":24,"permalink":"felt-suit","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eFilz ist ein wichtiger Bestandteil im Oeuvre von Beuys und z\u0026auml;hlt zu seinen bekanntesten Markenzeichen. Der \u003ci\u003eFilzanzug\u003c/i\u003e geh\u0026ouml;rt zu den einpr\u0026auml;gsamsten Werken, die er aus diesem Material geschaffen hat. F\u0026uuml;r Beuys stellt Filz ein spiritueller \u0026bdquo;Isolator\u0026ldquo; dar, durch den W\u0026auml;rme gespeichert werden kann, die wiederum als Katalysator f\u0026uuml;r Kreativit\u0026auml;t fungiert. Obwohl Beuys den \u003ci\u003eFilzanzug\u003c/i\u003e als ein Objekt ansah, das man nicht anziehen soll, hat er ihn trotzdem selbst einmal getragen. Beuys sagt: \u0026bdquo;Er [\u003ci\u003eFilzanzug\u003c/i\u003e] ist also einmal ein Haus, eine H\u0026ouml;hle, die den Menschen abisoliert gegen\u0026uuml;ber allem anderen. Zum anderen ist er ein Zeichen der Isolation des Menschen in unserer Zeit.\u0026ldquo;\u003csup\u003e1\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e1.\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u0026nbsp;\u003cspan style=\"font-size:11px;\"\u003e Beuys in Keto von Waberer, \u0026bdquo;Das Nomadische spielt eine Rolle von Anfang an. Interview mit Joseph Beuys\u0026ldquo;, in: Carl Haenlein (Hrsg.),\u0026nbsp;\u003cem\u003eJoseph Beuys. Eine Innere Mongolei \u003c/em\u003e(Kestner-Gesellschaft: Hannover, 1990) 206.\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 100 + 10 h.c., numbered, not signed\u003c/p\u003e\r\n\r\n\u003cp\u003eGalerie R\u0026eacute;ne Block, Berlin\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/000/036/703/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_10_1.jpg?1507813177","poster_credits":"(c)SABAM België, 2017 - Courtesy Hall Art Foundation, NY, USA, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eFelt is an integral part of Beuys\u0026rsquo; oeuvre and one of his trademark artistic materials. The \u003cem\u003eFelt Suit\u003c/em\u003e is therefore one of the most recognisable sculptures. Beuys regards felt as a spiritual \u0026lsquo;insulator\u0026rsquo;, capable of preserving warm energy, which might be a catalyst for creativity. Although the \u003cem\u003eFelt Suit \u003c/em\u003eshould not be worn, he did so himself on one occasion. Beuys remarked:\u0026nbsp; \u0026lsquo;[O]n one hand [the\u0026nbsp;\u003cem\u003eFelt Suit\u003c/em\u003e] is a house, a cave insulating the person from everything else. On the other hand, it is a symbol of the isolation of the person in our time.\u0026rsquo;\u003csup\u003e1\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csmall\u003e\u003csup\u003e1\u003c/sup\u003e\u0026nbsp;Beuys in Keto von Waberer, \u0026lsquo;Das Nomadische spielt eine Rolle von Anfang an. Interview mit Joseph Beuys\u0026rsquo; [The nomadic plays a part from the very beginning. Interview with Joseph Beuys], in: Carl Haenlein (ed.),\u0026nbsp;\u003cem\u003eJoseph Beuys. \u003c/em\u003e\u003cem\u003eEine Innere Mongolei\u003c/em\u003e(Kestner-Gesellschaft: Hannover, 1990) 206.\u003c/small\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 100 + 10 h.c., numbered, not signed\u003c/p\u003e\r\n\r\n\u003cp\u003eGalerie R\u0026eacute;ne Block, Berlin\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eVilt is een belangrijk onderdeel in het oeuvre van Beuys en op vlak van materiaal een van zijn handelsmerken. Hierdoor is \u003ci\u003eFilzanzug\u003c/i\u003e een van zijn meest herkenbare sculpturen. Beuys beschouwt vilt als spirituele \u0026lsquo;isolatie\u0026rsquo;, in staat warmte te behouden, hetgeen een katalysator voor creativiteit zou kunnen zijn. Hoewel \u003ci\u003eFilzanzug\u003c/i\u003e niet hoort gedragen te worden, heeft Beuys dit bij een gelegenheid gedaan. Beuys stelt: \u0026lsquo;Langs de ene kant is [\u003ci\u003eFilzanzug\u003c/i\u003e] een huis, een grot die een persoon isoleert van alles anders. Langs de andere kant is het een symbool voor de isolatie van de persoon in onze tijd.\u0026rsquo;\u003csup\u003e1\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csmall\u003e\u003csup\u003e1\u003c/sup\u003e Beuys in Keto von Waberer, \u0026lsquo;Das Nomadische spielt eine Rolle von Anfang an. Interview mit Joseph Beuys\u0026rsquo;, in: Carl Haenlein (ed.),\u0026nbsp;\u003cem\u003eJoseph Beuys. \u003c/em\u003e\u003cem\u003eEine Innere Mongolei\u003c/em\u003e(Kestner-Gesellschaft: Hannover, 1990) 206.\u003c/small\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 100 + 10 h.c., numbered, not signed\u003c/p\u003e\r\n\r\n\u003cp\u003eGalerie R\u0026eacute;ne Block, Berlin\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe feutre fait partie int\u0026eacute;grante de l\u0026#39;oeuvre de Beuys et c\u0026#39;est l\u0026#39;une de ses marques de mat\u0026eacute;riaux artistiques. Par cons\u0026eacute;quent, le \u003cem\u003eCostume en feutre\u003c/em\u003e est l\u0026#39;une des sculptures les plus reconnaissables. Beuys consid\u0026egrave;re le feutre comme un \u0026#39;isolant spirituel\u0026#39;, capable de pr\u0026eacute;server l\u0026#39;\u0026eacute;nergie chaude et pouvant \u0026ecirc;tre un catalyseur de cr\u0026eacute;ativit\u0026eacute;. Le \u003cem\u003eCostume en feutre \u003c/em\u003ene devait pas \u0026ecirc;tre port\u0026eacute; mais Beuys l\u0026#39;a port\u0026eacute; lui-m\u0026ecirc;me \u0026agrave; une occasion. Beuys a fait remarquer :\u0026nbsp; \u0026lsquo;[D\u0026#39;]un c\u0026ocirc;t\u0026eacute; [le\u0026nbsp;\u003cem\u003eCostume en feutre\u003c/em\u003e] est une maison, une grotte qui isole la personne de toute autre chose. D\u0026#39;un autre c\u0026ocirc;t\u0026eacute;, c\u0026#39;est un symbole de l\u0026#39;isolation de la personne \u0026agrave; notre \u0026eacute;poque.\u0026rsquo;\u003ca href=\"http://pinakothek-beuys-multiples.de/en/product/felt-suit/#fn4-101\" title=\"Beuys in Keto von Waberer, ‘Das Nomadische spielt eine Rolle von Anfang an. Interview mit Joseph Beuys’ [The nomadic plays a part from the very beginning. Interview with Joseph Beuys], in: Carl Haenlein (ed.), Joseph Beuys. Eine Innere Mongolei (Kestner-G\"\u003e\u003csup\u003e1\u003c/sup\u003e\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003col\u003e\r\n\t\u003cli\u003e\u003cem\u003eBeuys in Keto von Waberer, \u0026lsquo;Das Nomadische spielt eine Rolle von Anfang an. Interview mit Joseph Beuys\u0026rsquo; [The nomadic plays a part from the very beginning. Interview with Joseph Beuys], in: Carl Haenlein (ed.),\u0026nbsp;\u003c/em\u003e\u003cem\u003eJoseph Beuys. Eine Innere Mongolei\u003c/em\u003e\u003cem\u003e(Kestner-Gesellschaft: Hannover, 1990) 206.\u003c/em\u003e\u003c/li\u003e\r\n\u003c/ol\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 100 + 10 h.c., numbered, not signed\u003c/p\u003e\r\n\r\n\u003cp\u003eGalerie R\u0026eacute;ne Block, Berlin\u003c/p\u003e\r\n"}]},{"id":15649,"title":"So kann die Parteiendiktatur überwinden werden","dimensions":"76 x 51.5 x 9.2 cm","date_begin":"1971-01-01","material":"felt, plastic, printed plastic bag","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"L.J. De Schutter","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"so-kann-die-parteiendiktatur-uberwunden-werden","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eSo kann die Parteiendiktatur \u0026uuml;berwunden werden \u003c/em\u003ewurde von der Organisation f\u0026uuml;r direkte Demokratie durch Volksabstimmung (Organisatie voor directe democratie door volksraadpleging) von Joseph Beuys herausgegeben. Ein Plastikbeutel mit Flugzetteln \u0026ndash; und in manchen F\u0026auml;llen mit einer Filzschicht \u0026ndash; war die Weise um die politischen Ideen der Organisation zu verbreiten. In den Diagrammen auf dem Beutel wird \u0026lsquo;echte\u0026rsquo;, direkte Demokratie in der Form von Volksabstimmungen gegen\u0026uuml;ber dem Parteistaat gestellt. Anl\u0026auml;sslich einer Ausstellung in der K\u0026ouml;niglichen Akademie f\u0026uuml;r Bildende K\u0026uuml;nste in Gent (de Koninklijke Academie voor Schone Kunsten in Gent) wurde eine niederl\u0026auml;ndischsprachige Version der Ausgabe ver\u0026ouml;ffentlicht. 1975 wurde eine franz\u0026ouml;sischsprachige Version gemacht anl\u0026auml;sslich der Ausstellung \u003cem\u003eJe \u0026ndash; Nous = Ik \u0026ndash; Wij.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 10 000 planned, with felt object only about 500 manufactured; signed an numbered on the sheet of information material\u003c/p\u003e\r\n\r\n\u003cp\u003eArt Intermedia, K\u0026ouml;ln\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/000/035/683/large/csm_joseph-beuys-skulptur-so_kann_die_parteiendiktatur_berwunden_werden-1_c5f98b6708.jpg?1495121228","poster_credits":"(c)SABAM België, 2017 - Courtesy L.J. De Schutter, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003ci\u003eSo kann die Parteiendiktatur \u0026uuml;berwunden werden\u003c/i\u003e was issued by Joseph Beuys\u0026#39; Organisation f\u0026uuml;r direkte Demokratie durch Volksabstimmung (Organisation for Direct Democracy by Plebiscite). The plastic bag, filled with pamphlets, and in some cases a sheet of felt, was a means to spread the organisation\u0026#39;s political ideas. According to the diagrams printed on the bag, real direct democracy in the form of referenda-based society sits in opposition to the majority party state. In 1977, a Dutch version of the edition was published on the occasion of an exhibition at the Royal Academy of Fine Arts in Ghent.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 10 000 planned, with felt object only about 500 manufactured; signed an numbered on the sheet of information material\u003c/p\u003e\r\n\r\n\u003cp\u003eArt Intermedia, K\u0026ouml;ln\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003ci\u003eSo kann die Parteiendiktatur \u0026uuml;berwunden\u003c/i\u003e werden werd door de Organisation f\u0026uuml;r direkte Demokratie durch Volksabstimmung (Organisatie voor directe democratie door volksraadpleging) van Joseph Beuys uitgebracht. De plastic zak gevuld met pamfletten \u0026ndash; en in sommige gevallen een vel vilt \u0026ndash; was een manier om de politieke idee\u0026euml;n van de organisatie te verspreiden. In de diagrammen op de zak wordt \u0026lsquo;echte\u0026rsquo;, directe democratie in de vorm van referenda tegenover de partijstaat geplaatst. In 1977 werd ter gelegenheid van een tentoonstelling in de Koninklijke Academie voor Schone Kunsten in Gent een Nederlandse versie van de editie uitgebracht.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 10 000 planned, with felt object only about 500 manufactured; signed an numbered on the sheet of information material\u003c/p\u003e\r\n\r\n\u003cp\u003eArt Intermedia, K\u0026ouml;ln\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003ci\u003eSo kann die Parteiendiktatur \u0026uuml;berwunden werden\u003c/i\u003e a \u0026eacute;t\u0026eacute; \u0026eacute;dit\u0026eacute; par l\u0026rsquo;Organisation f\u0026uuml;r direkte Demokratie durch Volksabstimmung [Organisation pour la d\u0026eacute;mocratie directe par consultation populaire] de Joseph Beuys. Le sac en plastique rempli de pamphlets \u0026ndash; et parfois d\u0026rsquo;une feuille de feutre \u0026ndash; \u0026eacute;tait une mani\u0026egrave;re de diffuser les id\u0026eacute;es politiques de l\u0026rsquo;organisation. Sur les diagrammes \u0026agrave; l\u0026rsquo;ext\u0026eacute;rieur, on peut voir la \u0026laquo; v\u0026eacute;ritable \u0026raquo; d\u0026eacute;mocratie directe sous forme de referendum plac\u0026eacute;e face \u0026agrave; la partitocratie. En 1977, \u0026agrave; l\u0026rsquo;occasion d\u0026rsquo;une exposition \u0026agrave; l\u0026rsquo;Acad\u0026eacute;mie des Beaux-Arts de Gand, une version n\u0026eacute;erlandaise de l\u0026rsquo;\u0026eacute;dition a \u0026eacute;t\u0026eacute; produite.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 10 000 planned, with felt object only about 500 manufactured; signed an numbered on the sheet of information material\u003c/p\u003e\r\n\r\n\u003cp\u003eArt Intermedia, K\u0026ouml;ln\u003c/p\u003e\r\n"}]},{"id":15638,"title":"Polentransport","dimensions":"48.4 x 157.4 x 108.4 cm","date_begin":"1981-01-01","material":"wood, wrapping paper","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":"Muzeum Sztuki, Łódź","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"polentransport","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eAnfang der achtziger Jahre erblasste die Macht der kommunistischen Partei in Polen vor\u0026uuml;bergehend. Anl\u0026auml;sslich der Aktion \u003cem\u003ePolentransport 1981 \u003c/em\u003ehat Joseph Beuys in dieser Periode etwa tausend Werke der permanenten Kollektion des Museums Sztuki in L\u0026oacute;dz geschenkt. Beuys fuhr mit seiner Frau und Tochter in einem Transporter Richtung Polen mit einer Holzkiste mit Kunstwerken auf dem Dach. Beim Auspacken kommentierte Beuys die Werke, signierte und arbeitete manche noch ab. Schlie\u0026szlig;lich hat er auch noch seine Unterschrift auf der Kiste angebracht und hat er vorgeschlagen diese als Sockel zu verwenden. Mit seiner Aktion m\u0026ouml;chte Beuys unter anderem Solidarność (Solidarit\u0026auml;t), die polnische Gewerkschaftsbewegung die bis 1989 eine wichtige Rolle gespielt hat im Widerstand des kommunistischen Regimes, unterst\u0026uuml;tzen und mit seiner Idee der \u0026ldquo;sozialen Skulptur\u0026rdquo; in Verbindung bringen.\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/000/036/172/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_15_3.jpg?1507801733","poster_credits":"(c)SABAM België, 2017 - Courtesy Muzeum Sztuki, Łódź, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eIn 1980\u0026ndash;1981 there was a momentary release from the grip of the Communist party in Poland. During these days, Beuys undertook his \u003cem\u003ePolentransport 1981 \u003c/em\u003eaction, for which he donated approximately one thousand artworks to the permanent collection of the Muzeum Sztuki in Ł\u0026oacute;dź. Together with his wife and daughter, Beuys travelled to Poland in a van, with a wooden crate containing the works on its roof. Whilst unpacking, Beuys discussed his the works, signed them and even finished some of them. He also put his signature on the crate itself and suggested to use it as a plinth. With this action, Beuys wanted to support the Solidarność (Solidarity) movement that played an essential role in the resistance to the communist regime, wanting to link this organisation to his idea of \u0026lsquo;social sculpture\u0026rsquo;.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eBegin jaren tachtig verslapte de macht van de communistische partij in Polen tijdelijk. Tijdens de actie \u003cem\u003ePolentransport 1981\u003c/em\u003e schonk Joseph Beuys in die periode een duizendtal werken aan de permanente collectie van het Museum Sztuki in L\u0026oacute;dz. Beuys reed samen met zijn vrouw en zijn dochter naar Polen in een bestelwagen, met op het dak een houten kist met de kunstwerken. Bij het uitpakken becommentarieerde Beuys de werken, signeerde ze en werkte sommige zelfs verder af. Op het einde zette hij ook zijn handtekening op de kist zelf en suggereerde hij deze als sokkel te gebruiken. Met zijn actie wilde Beuys onder andere Solidarność (solidariteit), de Poolse vakbeweging die tot 1989 een belangrijke rol speelde in het verzet tegen het communistische regime, steunen en linken aan zijn idee van \u0026lsquo;sociale sculptuur\u0026rsquo;.\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eAu d\u0026eacute;but des ann\u0026eacute;es 80, le pouvoir du parti communiste s\u0026rsquo;est provisoirement affaibli en Pologne. Pendant l\u0026rsquo;action \u003cem\u003ePolentransport\u0026nbsp;1981\u003c/em\u003e, Joseph Beuys a fait don d\u0026rsquo;un millier d\u0026rsquo;\u0026oelig;uvres \u0026agrave; la collection permanente du Mus\u0026eacute;e Szutki \u0026agrave; Ł\u0026oacute;dź. Beuys a voyag\u0026eacute; avec sa femme et sa fille vers la Pologne en camionnette, avec les \u0026oelig;uvres dans une caisse en bois fix\u0026eacute;e sur le toit. Lors du d\u0026eacute;ballage, Beuys a comment\u0026eacute; les \u0026oelig;uvres, les a sign\u0026eacute;es et en a m\u0026ecirc;me achev\u0026eacute; quelques-unes. \u0026Agrave; la fin, il a sign\u0026eacute; la caisse en bois et a sugg\u0026eacute;r\u0026eacute; qu\u0026rsquo;elle fasse office de socle. Par son action, Beuys voulait, entre autres, soutenir Solidarność, le syndicat polonais qui a jou\u0026eacute; un r\u0026ocirc;le pr\u0026eacute;pond\u0026eacute;rant dans la r\u0026eacute;sistance contre le r\u0026eacute;gime communiste, et le lier \u0026agrave; son concept de sculpture sociale.\u003c/p\u003e\r\n"}]},{"id":15633,"title":"Grond","dimensions":"4 x (220 x 160 x 220 cm)","date_begin":"1980-01-01","material":"copper, wood, iron","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":"Museum Boijmans - Van Beuningen, Rotterdam, The Nederlands","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003ehttp://collectie.boijmans.nl/en/object/40767/Ground/Joseph-Beuys\u003c/p\u003e\r\n","date_end":"1981-01-01","reference":"","stream_count_app":10,"permalink":"grond","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eAnfang der Jahre 1980 auf dem H\u0026ouml;hepunkt seines politischen Engagements hat Joseph Beuys G\u003cem\u003erond \u003c/em\u003erealisiert. Die B\u0026uuml;rom\u0026ouml;bel aus seiner Berliner Galerie verweisen auf die kreative Energie die in einem Durchschnittsb\u0026uuml;ro entstehen kann. Der Metallstuhl, das B\u0026uuml;ro und der Aktenschrank stehen gegen ein Ensemble von jeweils f\u0026uuml;nf Kupferplatten in einer Holzverschalung. Auf einem vierten Kupfer- und Holzensemble steht ein Lautsprecher aus dem zuweilen die Stimme Beuys\u0026rsquo; \u0026ldquo;Und jetzt brechen wir hier den Scheisse ab\u0026rdquo; [En nu breken we hier de rotzooi af] seufzt. Die Seite aus dem Frankfurter Rundschau vom 23. Dezember 1978 mit dem Artikel von Beuys \u003cem\u003eAufruf zur Alternative\u003c/em\u003e ist Teil von \u003cem\u003eGrond\u003c/em\u003e.\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/000/037/450/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_8_2.jpg?1507633083","poster_credits":"(c)SABAM België, 2017 - Courtesy Museum Boijmans van Beuningen, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys makes \u003cem\u003eGrond\u003c/em\u003e at the beginning of the 1980s, at the height of his political engagement. The office furniture \u0026ndash; from a Berlin gallery \u0026ndash; refers to the creative energy that can arise in an average office. The metal chair, the desk and the file cabinet stand against three ensembles of each five copper plates in a wooden formwork. On a fourth ensemble of copper and wood, there\u0026#39;s a loudspeaker through which Beuys voice occasionally can be heard. He sighs: \u0026#39;Jetzt brechen wir hier den Scheiss ab\u0026#39; (Let\u0026#39;s break down the shit here). The page from the Frankfurter Runschau of 23 December 1978 with Joseph Beuys\u0026#39; article \u003cem\u003eAufruf zur Alternative\u003c/em\u003e is part of \u003cem\u003eGrond\u003c/em\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eJoseph Beuys maakt \u003cem\u003eGrond\u003c/em\u003e in het begin van de jaren 1980 op het hoogtepunt van zijn politieke engagement. De kantoormeubelen \u0026ndash; afkomstig uit een Berlijnse galerij \u0026ndash; verwijzen naar de creatieve energie die kan ontstaan op een doorsnee kantoor. De metalen stoel, bureau en archiefkast staan tegen drie ensembles van telkens vijf koperen platen in een houten bekisting. Op een vierde ensemble van koper en hout staat een luidspreker waardoor de stem van Beuys af en toe \u0026ldquo;Und jetzt brechen wir hier den Scheisse ab\u0026rdquo; (En nu breken we hier de rotzooi af) verzucht. De pagina uit de Frankfurter Runschau van 23 december 1978 met Beuys\u0026rsquo; artikel \u003cem\u003eAufruf zur Alternative\u003c/em\u003e maakt deel uit van \u003cem\u003eGrond\u003c/em\u003e.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys r\u0026eacute;alise l\u0026rsquo;\u0026oelig;uvre \u003cem\u003eGrond\u003c/em\u003e au d\u0026eacute;but des ann\u0026eacute;es\u0026nbsp;80, \u0026agrave; l\u0026rsquo;apog\u0026eacute;e de son engagement politique. Les meubles de bureau \u0026ndash; provenant d\u0026rsquo;une galerie berlinoise \u0026ndash; font r\u0026eacute;f\u0026eacute;rence \u0026agrave; l\u0026rsquo;\u0026eacute;nergie cr\u0026eacute;ative qui peut \u0026ecirc;tre g\u0026eacute;n\u0026eacute;r\u0026eacute;e dans un bureau ordinaire. La chaise, le bureau et l\u0026rsquo;armoire \u0026agrave; archives m\u0026eacute;talliques sont pos\u0026eacute;s contre trois ensembles compos\u0026eacute;s chacun de cinq panneaux en cuivre dans un coffrage en bois. Sur un quatri\u0026egrave;me ensemble de cuivre et de bois est pos\u0026eacute; un haut-parleur duquel r\u0026eacute;sonne de temps en temps la voix de Beuys\u0026nbsp;: \u0026laquo;\u0026nbsp;Und jetzt brechen wir hier den Scheisse ab\u0026nbsp;\u0026raquo; [Et maintenant, nous d\u0026eacute;molissons la merde ici]. La page du journal Frankfurter Runschau du 23\u0026nbsp;d\u0026eacute;cembre 1978 avec l\u0026rsquo;article \u003cem\u003eAufruf zur Alternative \u003c/em\u003efait partie de l\u0026rsquo;\u0026oelig;uvre \u003cem\u003eGrond\u003c/em\u003e.\u003c/p\u003e\r\n"}]},{"id":15666,"title":"Eurasienstab, 82 min fluxorum organum","dimensions":"00:21:49","date_begin":null,"material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":22,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"eurasienstab","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eEURASIENSTAB. 82 min fluxorum organum\u003c/em\u003e wurde zum ersten Mal im Jahr 1967 in Wien vorgef\u0026uuml;hrt. Am 09. Februar 1968 fand die ikonische Aktion von Joseph Beuys und dem Musikanten Henning Christiansen in der Wide White Space in Antwerpen statt, die auch auf 16mm-Film aufgenommen wurde. Beuys f\u0026uuml;hrte ein Ritual vor um die vier Windrichtungen Eurasiens symbolisch wieder mit einander zu verbinden und asiatische Spiritualit\u0026auml;t mit europ\u0026auml;ischem Realismus zu vers\u0026ouml;hnen. Um diese entgegengesetzte Energien wieder ins Gleichgewicht zu bringen, verwendet er den Eurasienstab, einen langen Kupferstab. Der Stab, den sowohl von einem Priester, einem Hirten wie von dem Schamane gebraucht wird, war ein zur\u0026uuml;ckkommendes Motiv im Werk von Beuys, auch in Form eines Spazierstockes.\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/000/037/517/large/1992_499-002.jpg?1507751787","poster_credits":"(c)SABAM België, 2017 - videostill: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eEURASIENSTAB. 82 min fluxorum organum\u003c/em\u003e was first performed in 1967, in Vienna. On February 9, 1968, Joseph Beuys\u0026#39; and musician Henning Christiansen\u0026#39;s iconic action took place at Wide White Space gallery in Antwerp, where it was also recorded on 16mm film. Beuys performs a ritual for symbolically reuniting the four winds of Eurasia, seeking to reconcile Asian spirituality with European rationality. To bring these seemingly opposing energies in balance he uses the Eurasienstab, a long staff made of copper. The staff, used by the priest, the shepherd and the shaman alike, is a recurring motif in Beuys\u0026rsquo; work, and occasionally with a walking stick as a surrogate.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eJoseph Beuys geldt als een van de meest invloedrijke kunstenaars van de 20e eeuw. In zijn maatschappelijk ge\u0026euml;ngageerde performances probeerde hij in te spelen op het intellectuele en morele besef van de toeschouwer. In deze film voert Joseph Beuys een ritueel uit waarbij de vier windrichtingen van het fictieve werelddeel Eurazi\u0026euml; symbolisch met elkaar worden verenigd. De kunstenaar draagt met vilt bedekte metalen schoenen terwijl hij de hoeken van de kamer insmeert met vet. Eurazi\u0026euml; is in Beuys\u0026rsquo; optiek een utopische combinatie van Europa en Azi\u0026euml; en van west en oost. De Eurasienstab, een lange koperen kromstaf, wordt door Beuys gebruikt om de intellectuele en spirituele eigenschappen van deze werelddelen allegorisch met elkaar te verbinden. Eurasienstab is een filmregistratie van de gelijknamige performance die in 1968 werd uitgevoerd in de Wide White Space Gallery in Antwerpen. De begeleidende orgelmuziek is gecomponeerd door Henning Christiaansen en later aan de film toegevoegd. (bron:\u0026nbsp;http://www.stedelijk.nl/kunstwerk/10156-eurasienstab)\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLa performance \u003cem\u003eEURASIENSTAB. 82 min fluxorum organum\u003c/em\u003e est pr\u0026eacute;sent\u0026eacute;e pour la premi\u0026egrave;re fois en 1967 \u0026agrave; Vienne. Le 9 f\u0026eacute;vrier 1968, l\u0026rsquo;action iconique de Joseph Beuys et du musicien Henning Christiansen se d\u0026eacute;roule \u0026agrave; la galerie anversoise Wide White Space, o\u0026ugrave; elle est \u0026eacute;galement film\u0026eacute;e en 16 mm. En enduisant les angles de la galerie de beurre, Beuys souhaite symboliquement relier les quatre directions du vent d\u0026rsquo;Eurasie ; relier la spiritualit\u0026eacute; asiatique et le r\u0026eacute;alisme europ\u0026eacute;en et r\u0026eacute;tablir l\u0026rsquo;\u0026eacute;quilibre entre \u0026eacute;nergies oppos\u0026eacute;es. Pour ce faire, il utilise l\u0026rsquo;Eurasienstab, une longue tige courb\u0026eacute;e en cuivre. Le b\u0026acirc;ton, qu\u0026rsquo;utilisent aussi bien le pr\u0026ecirc;tre, le berger que le chamane, est un \u0026eacute;l\u0026eacute;ment r\u0026eacute;current dans l\u0026rsquo;\u0026oelig;uvre de Beuys et revient aussi sous la forme d\u0026rsquo;une canne.\u003c/p\u003e\r\n"}]},{"id":15636,"title":"Hirschdenkmäler","dimensions":"variable dimensions ","date_begin":"1958-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Galerie Thaddeus Ropac, Paris - London - Salzburg","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eDimensions (variable): 49 x 72 x 93 cm, 48 x 104 x 172 cm, 143 x 75 x 75 cm\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"","stream_count_app":14,"permalink":"hirschdenkmaler","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDie zentrale Skulptur \u003cem\u003eHirsch\u003c/em\u003e (hert) aus dem Jahre 1958, das \u0026auml;lteste Teil der Installation, besteht aus einem alten B\u0026uuml;gelbrett \u0026ndash; das noch von Beuys\u0026rsquo; Mutter verwendet w\u0026uuml;rde \u0026ndash; ruhend auf Ebenholz. Die achtunddrei\u0026szlig;ig \u003cem\u003eUrtiere \u003c/em\u003e(oerdieren) sehen vorweltlich aus und wie gerade aus der Erde entstanden aber bestehen auch aus Werkzeugen, die ersten Zeichen der Zivilisation. \u003cem\u003eZiege\u003c/em\u003e (geit) ist aus einer Karre und einem Pickel zusammengesetzt, was auf die Kultivierung der Erde und der Technologie hinweist.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eBoothia Felix \u003c/em\u003eist ein Querschnitt der Erde worauf Wurzel und Erdst\u0026uuml;cke\u0026nbsp; auf einem Modelliergestell zu sehen sind. Der Kompass obenan und der Titel \u0026ndash; der Name einer Halbinsel im \u0026auml;u\u0026szlig;ersten Norden des amerikanischen Kontinentes \u0026ndash; situieren die Szene im Gebiet der Inuit Gemeinschaft. Die zu \u003cem\u003eHirschdenkm\u0026auml;ler \u003c/em\u003egeh\u0026ouml;renden Elemente wurden 1982 zum ersten Mal w\u0026auml;hrend der Ausstellung \u003cem\u003eZeitgeist\u003c/em\u003e in Berlin zusammengebracht. Die Aufstellung betont das Proze\u0026szlig;m\u0026auml;ssige, das Unvollendete.\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/000/037/453/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_91.jpg?1507633603","poster_credits":"(c)SABAM België, 2017 - Courtesy Galerie Thaddeus Ropac, Paris - London - Salzburg, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe oldest component of this installation is the central sculpture \u003cem\u003eHirsch\u003c/em\u003e (\u003cem\u003eStag\u003c/em\u003e), from 1958, consists of an old ironing board, that belonged to Beuys\u0026#39; mother, resting on ebony. The thirty-eight \u003cem\u003eUrtiere\u003c/em\u003e (\u003cem\u003ePrimitive Creatures\u003c/em\u003e) have a more formless, primordial appearance, but incorporate tools \u0026ndash; the first signs of civilisation. \u003cem\u003eZiege\u003c/em\u003e (\u003cem\u003eGoat\u003c/em\u003e) is made of a cart and a pickaxe, and is related to the mining of the Earth and to technology.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe last element, \u003cem\u003eBoothia Felix\u003c/em\u003e is a cross-section of the Earth in which roots and pieces of pottery can be seen, mounted on a sculptor\u0026rsquo;s modelling tripod. The compass on top and the title \u0026ndash; the name of a peninsula in the North American arctic\u0026ndash; situates the scene near the home of Inuit communities. The elements that make up \u003cem\u003eHirschdenkm\u0026auml;ler\u003c/em\u003e were first brought together as an installation during the exhibition \u003cem\u003eZeitgeist\u003c/em\u003e in 1982 in Berlin. The way it is arranged, emphases the processual, the unfinished.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe centrale sculptuur \u003cem\u003eHirsch \u003c/em\u003e(hert) uit 1958, het oudste deel van de installatie, bestaat uit een oude strijkplank \u0026ndash;die nog door Beuys\u0026rsquo; moeder zou zijn gebruikt\u0026ndash; rustend op ebbenhout. De achtendertig \u003cem\u003eUrtiere \u003c/em\u003e(oerdieren) lijken voorhistorisch en net aan de aarde ontsproten, maar bestaan ook uit gereedschap, de eerste tekenen van beschaving. Z\u003cem\u003eiege\u003c/em\u003e (geit) is gemaakt van een kar en een houweel, die refereren aan het ontginnen van de aarde en technologie.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eBoothia Felix\u003c/em\u003e is een doorsnede van de aarde waarin wortels en stukken aardewerk zichtbaar zijn, opgesteld op een boetseerbok. Het kompas bovenop en de titel \u0026ndash; de naam van een schiereiland in het uiterste noorden van het Amerikaanse continent\u0026ndash; situeren het tafereel in het gebied van Inu\u0026iuml;t gemeenschappen. De elementen die deel uitmaken van \u003cem\u003eHirschdenkm\u0026auml;ler \u003c/em\u003ewerden voor het eerst samengebracht tijdens de tentoonstelling \u003cem\u003eZeitgeist\u003c/em\u003e in 1982 in Berlijn. De opstelling benadrukt het procesmatige, het onaffe.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLa plus ancienne sculpture, \u003cem\u003eHirsch\u003c/em\u003e, date de 1958, se compose d\u0026rsquo;une ancienne planche \u0026agrave; repasser \u0026ndash; que la m\u0026egrave;re de Beuys aurait utilis\u0026eacute;e \u0026ndash; qui repose sur du bois d\u0026rsquo;\u0026eacute;b\u0026egrave;ne. Bien que les 38 \u003cem\u003eUrtiere \u003c/em\u003e[animaux primaires], qui ressemblent \u0026agrave; des vers de terre, semblent sortir droit de la terre, ils portent d\u0026eacute;j\u0026agrave; en eux les premiers signes de civilisation (outils). Le mat\u0026eacute;riel \u0026ndash; une charrette et une pioche \u0026ndash; dont est construite l\u0026rsquo;\u0026oelig;uvre \u003cem\u003eZiege\u003c/em\u003e [ch\u0026egrave;vre] fait r\u0026eacute;f\u0026eacute;rence \u0026agrave; l\u0026rsquo;exploitation de la terre et \u0026agrave; la technologie.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eBoothia Felix\u003c/em\u003e, une coupe transversale de terre dans laquelle on aper\u0026ccedil;oit des racines et des morceaux de poterie, est pos\u0026eacute;e sur un chevalet de sculpteur. La boussole tout en haut et le titre \u0026ndash; le nom d\u0026rsquo;une presqu\u0026rsquo;\u0026icirc;le aux confins septentrionaux du continent am\u0026eacute;ricain \u0026ndash; situent la sc\u0026egrave;ne dans les environs du Nord magn\u0026eacute;tique. Les \u0026eacute;l\u0026eacute;ments qui font partie de \u003cem\u003eHirschdenkm\u0026auml;ler\u003c/em\u003e ont \u0026eacute;t\u0026eacute; r\u0026eacute;unis pour la premi\u0026egrave;re fois lors de l\u0026rsquo;exposition \u003cem\u003eZeitgeist\u003c/em\u003e \u0026agrave; Berlin, en 1982. La disposition de \u003cem\u003eHirschdenkm\u0026auml;ler\u003c/em\u003e souligne le caract\u0026egrave;re de processus en cours et l\u0026rsquo;aspect inachev\u0026eacute;.\u003c/p\u003e\r\n"}]},{"id":15637,"title":"Voglie vedere i miei montagne","dimensions":"460 x 585 x 788 cm","date_begin":"1971-01-01","material":"copper, felt, black-and-white picture, various objects","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":"Van Abbemuseum, Eindhoven","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"voglie-vedere-i-miei-montagne","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eVoglie vedere i miei montagne \u003c/em\u003eist die erste zimmervolle Installation von Joseph Beus, besonders f\u0026uuml;r eine Saal in dem Van Abbemuseum in Eindhoven realisiert. Der Titel greift zur\u0026uuml;ck auf die letzten Worte der Malers Giovanni Segantini aus dem neunzehnten Jahrhundert, der sich auf seinem Sterbebett ein letztes Mal die Alpen ansehen m\u0026ouml;chte. Die Gegenst\u0026auml;nde \u0026ndash; unter anderem M\u0026ouml;bel aus seiner Jugend \u0026ndash; stehen auf Kupferplatten um eine niedrig hangende Lampe herum \u0026uuml;ber ein St\u0026uuml;ck Filz und bilden zusammen eine Art Landschaft. Auf diesen Objekten stehen keltische W\u0026ouml;rter aber auch deutsche und r\u0026auml;toromanische aus der Schweiz und aus Norditalien. So bedeutet \u0026lsquo;Vadrec(t)\u0026rsquo; auf dem Schrank, \u0026lsquo;Gletscher\u0026rsquo; und \u0026lsquo;Walun\u0026rsquo; auf dem Bett \u0026lsquo;Tal\u0026rsquo;. \u0026lsquo;Sciora\u0026rsquo; ist der Name eines Berges in der Schweiz und \u0026lsquo;Penninus\u0026rsquo; ist der Namen eines Gottes der Bergen.\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/000/037/516/large/0603.jpg?1507751296","poster_credits":"(c)SABAM België, 2017 - photo: Courtesy VAM, Peter Cox","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eVoglie vedere i miei montagne\u003c/em\u003e was Joseph Beuys\u0026#39; first room-filling installation, and was especially made for a space in the Van Abbemuseum, Eindhoven. The work derives its title from the last words of 19th-century painter Giovanni Segantini, who wanted to see the Alps from his deathbed for the last time. Together forming a sort of landscape, the objects \u0026ndash; including furniture from his youth \u0026ndash; stand on copper plates arranged around a lamp that is hanging low above a piece of felt. Numerous words are written on the objects in Celtic and German as well as the Rhaeto-Romance dialect of Northern Italy and Switzerland. The word \u0026ldquo;Vadrec[t]\u0026rdquo; on the wardrobe means glacier, \u0026ldquo;Valun\u0026rdquo; written on the bed means valley, \u0026ldquo;Sciora\u0026rdquo; on the flat box is the name of a mountain in Switzerland, and \u0026ldquo;Penninus\u0026rdquo; is the name of a mountain god.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eVoglie vedere i miei montagne\u003c/em\u003e is de eerste kamer vullende installatie van Joseph Beuys, speciaal gemaakt voor een zaal in het Van Abbemuseum in Eindhoven. De titel is gebaseerd op de laatste woorden van de 19\u003csup\u003ede\u003c/sup\u003e -eeuwse schilder Giovanni Segantini, die vanuit zijn sterfbed voor een laatste keer de Alpen wilde zien. De objecten \u0026ndash;waaronder meubels uit zijn jeugd\u0026ndash; staan op koperen platen opgesteld rond een laaghangende lamp boven een stuk vilt en vormen samen een soort landschap. Op de objecten staan woorden in het Keltisch, het Duits en het Reto-Romaanse dialect van Noord-Itali\u0026euml; en Zwitserland. Zo betekent \u0026lsquo;Vadrec(t)\u0026rsquo; op de kast \u0026lsquo;gletsjer\u0026rsquo; en \u0026lsquo;Walun\u0026rsquo; op het bed \u0026lsquo;vallei\u0026rsquo;. \u0026lsquo;Sciora\u0026rsquo; is de naam van een berg in Zwitserland en \u0026lsquo;Penninus\u0026rsquo; is de naam van een god van de bergen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eVoglie vedere i miei montagne\u003c/em\u003e est la premi\u0026egrave;re installation de Beuys \u0026agrave; occuper toute une pi\u0026egrave;ce. L\u0026rsquo;\u0026oelig;uvre a \u0026eacute;t\u0026eacute; con\u0026ccedil;ue sp\u0026eacute;cialement pour une salle du mus\u0026eacute;e Van Abbe \u0026agrave; Eindhoven. L\u0026rsquo;artiste emprunte le titre au peintre du XIXe si\u0026egrave;cle, Giovanni Segantini, qui a voulu voir les Alpes une derni\u0026egrave;re fois de son lit de mort. Les objets \u0026ndash; dont des meubles de son enfance \u0026ndash; sont pos\u0026eacute;s sur des plaques de cuivre et dispos\u0026eacute;s autour d\u0026rsquo;une lampe circulaire suspendue tr\u0026egrave;s bas, juste au-dessus d\u0026rsquo;un cercle en feutre. Les mots \u0026eacute;crits \u0026agrave; la craie sur les objets, en celte, en allemand et en r\u0026eacute;to-roman, poursuivent cette m\u0026eacute;taphore : ainsi, Vadrec(t), \u0026eacute;crit sur l\u0026rsquo;armoire signifie glacier et Walun, \u0026eacute;crit sur le lit signifie vall\u0026eacute;e.\u003c/p\u003e\r\n"}]},{"id":15650,"title":"Schautafeln für den Unterricht I und II","dimensions":"2 x (83 x 104 cm)","date_begin":"1971-01-01","material":"offset on cardboard, zinc, sulphur","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Museum Ostwall im Dortmunder U, Dortmund, Germany","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEdition: 202 planned, only 150 copleted, signed and numbered on board I\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Edition Tangente, Heidelberg\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":11,"permalink":"schautafeln-fur-den-unterricht-i-und-ii","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eSchautafeln f\u0026uuml;r den Unterricht I und II\u003c/em\u003e besteht aus zwei schwarz/wei\u0026szlig; Bildern von Betonbunkern auf dem Strand von Ostende. Diese Strukturen sind Teil des Atlantikwalls, w\u0026auml;hrend des zweiten Weltkriegs von der deutschen Armee gebildet worden als Verteidigung gegen\u0026uuml;ber der alliierten Invasion und der als stilles Zeugnis einer traumatischen Vergangenheit fungiert. Auf eins der Bilder steht ein handgeschriebener Text von Joseph Beuys: \u0026ldquo;OSTENDE/auf dem Strand oder in den D\u0026uuml;nen/ ein viereckiges Geb\u0026auml;ude/ mit darin \u0026lsquo;das Samurai-Schwert ist eine Blutwurst\u0026rsquo;/SOCKEL.\u0026rdquo; Der Text verweist auf den Plan von Beuys aus den sechziger Jahren um in Ostende ein Denkmal mit seinem Werk \u003cem\u003eDas Samurai-Schwert ist eine Blutwurst\u003c/em\u003e zu errichten.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 202 planned, only 150 copleted, signed and numbered on board I\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Tangente, Heidelberg\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/000/035/682/large/joseph-beuys-schautafeln-f%C3%BCr-den-unterricht-i-und-ii.jpg?1495121129","poster_credits":"(c)SABAM België, 2017 - Courtesy Museum Ostwall im Dortmunder U, Dortmund, Germany","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eSchautafeln f\u0026uuml;r Unterricht I und II\u003c/em\u003e consists of two black and white photos of concrete bunkers on Ostend beach. These structures form part of the Atlantikwall, founded by the German army during the Second World War as a defence against an allied invasion. They act as silent witnesses to a traumatic past. One of the images features text in Joseph Beuys\u0026#39; handwriting:\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026ldquo;OSTENDE / am Strand oder in den D\u0026uuml;nen / ein kubusf\u0026ouml;rmiges Haus / darin \u0026ldquo;Das Samurai-Schwert ist eine Blutwurst\u0026rdquo; / SOCKEL\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e(\u0026ldquo;OSTEND / on the beach or in the dunes / a square building / containing \u0026ldquo;The Samurai sword is a blood sausage\u0026rdquo; / PEDESTAL\u0026rdquo;)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe text refers to Beuys\u0026#39; plan from the 1960s to establish a monument in Ostend containing the work \u003cem\u003eDas Samurai-Schwert ist eine Blutwurst\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 202 planned, only 150 copleted, signed and numbered on board I\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Tangente, Heidelberg\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eSchautafeln f\u0026uuml;r den Unterricht I und II\u003c/em\u003e bestaat uit twee zwart-witfoto\u0026rsquo;s van betonnen bunkers op het strand van Oostende. Deze structuren maken deel uit van de Atlantikwall, die tijdens de Tweede Wereldoorlog door het Duitse leger werd opgericht als verdediging tegen een geallieerde invasie, en fungeren als stille getuigen van een traumatisch verleden. Op een van de beelden staat een tekst in het handschrift van Joseph Beuys:\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026ldquo;OSTENDE / am Strand oder in den D\u0026uuml;nen / ein kubusf\u0026ouml;rmiges Haus / darin \u0026ldquo;Das Samurai-Schwert ist eine Blutwurst\u0026rdquo; / SOCKEL\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e(\u0026ldquo;OOSTENDE/op het strand of in de duinen/een vierkant gebouw/met daarin \u0026lsquo;Het Samoerai zwaard is een bloedworst\u0026rsquo;/SOKKEL.\u0026rdquo;)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe tekst verwijst naar het plan dat Beuys in de jaren \u0026rsquo;60 had om in Oostende een monument op te richten met daarin het werk \u003cem\u003eDas Samurai-Schwert ist eine Blutwurst\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 202 planned, only 150 copleted, signed and numbered on board I\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Tangente, Heidelberg\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eSchautafeln f\u0026uuml;r den Unterricht I und II\u003c/em\u003e se compose de deux photographies en noir et blanc de bunker en b\u0026eacute;ton sur la plage d\u0026rsquo;Ostende. Ces structures font partie du Mur de l\u0026rsquo;Atlantique que l\u0026rsquo;arm\u0026eacute;e allemande a fait construire pendant la Seconde Guerre mondiale comme d\u0026eacute;fense contre une invasion des Alli\u0026eacute;s et font office \u0026agrave; ce jour de t\u0026eacute;moins silencieux d\u0026rsquo;un pass\u0026eacute; traumatique. Sur l\u0026rsquo;une des photos, on peut lire un texte \u0026eacute;crit \u0026agrave; la main par Joseph Beuys :\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026ldquo;OSTENDE / am Strand oder in den D\u0026uuml;nen / ein kubusf\u0026ouml;rmiges Haus / darin \u0026ldquo;Das Samurai-Schwert ist eine Blutwurst\u0026rdquo; / SOCKEL\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e[Ostende/sur la plage ou dans les dunes/un b\u0026acirc;timent carr\u0026eacute;/avec \u0026agrave; l\u0026rsquo;int\u0026eacute;rieur \u0026laquo; L\u0026rsquo;\u0026eacute;p\u0026eacute;e samoura\u0026iuml; est un boudin \u0026raquo;/SOCLE].\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eLe texte fait r\u0026eacute;f\u0026eacute;rence au projet de Beuys dans les ann\u0026eacute;es 60 d\u0026rsquo;\u0026eacute;riger un monument \u0026agrave; Ostende qui contiendrait l\u0026rsquo;\u0026oelig;uvre \u003cem\u003eDas Samurai-Schwert ist eine Blutwurst\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 202 planned, only 150 copleted, signed and numbered on board I\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Tangente, Heidelberg\u003c/p\u003e\r\n"}]},{"id":15639,"title":"Drei teilen des Aktionssockels, 24 Stunden","dimensions":"variable dimensions ","date_begin":"1965-01-01","material":"orange box, glass bottle, plastic, adhesive tape","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":"FRAC Grand Large, Hauts-de-France","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"drei-teilen-der-aktionssockels-24-stunden-5-juni-65-0-24h","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDrei Teilen des Aktionssockels, 24 Stunden \u003c/em\u003ebesteht aus Objekten die Joseph Beuys 1965 w\u0026auml;hrend der \u003cem\u003e24 Stunden Happening\u003c/em\u003e \u0026nbsp;der Fluxus Bewegung in Wuppertal gebraucht hat, an der auch K\u0026uuml;nstler wie Nam June Paik, Dieter Roth, Wolf Vostell und Emmett Williams beteiligt waren. 24 Stunden lang hat Beuys zehnmal dieselbe Performance wiederholt. Er sa\u0026szlig;, lag oder stand auf einer Orangenkiste, die mit einem wei\u0026szlig;em Tuch bedeckt war, mit abwechselnd einem Spaten, einem toten Hase und einer Kamera in der Hand. Anny De Decker von der Wide White Space in Antwerpen war anwesend und hat nachher den doppelten Spaten gekauft, die w\u0026auml;hrend der Aktion von Beuys gebraucht wurde.\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/000/037/318/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_15_1.jpg?1507813255","poster_credits":"(c)SABAM België, 2017 - Courtesy Frac Grand Large, Hauts-de-France, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDrei Teilen des Aktionssockels, 24 Stunden\u003c/em\u003e consists of items used by Joseph Beuys during the 24-hour Fluxus happening in 1965 at Galerie Parnass in Wuppertal, where artists such as Nam June Paik, Charlotte Moorman, Dieter Roth and Wolf Vostell also participated. Beuys repeated the same performance ten times within a period of 24 hours. [\u0026hellip;] Anny De Decker of Wide White Space in Antwerp attended the action, where she acquired the work \u003cem\u003eDoppelspaten\u003c/em\u003e (\u003cem\u003eDouble Spade\u003c/em\u003e) that Beuys had used during the action.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDrei Teilen des Aktionssockels, 24 Stunden\u003c/em\u003e bestaat uit objecten die Joseph Beuys gebruikte tijdens de \u0026nbsp;24 Stunden happening van de Fluxusbeweging in Wuppertal in 1965, waar ook kunstenaars als Nam June Paik, Dieter Roth, Wolf Vostell en Emmett Williams aan deelnamen. Gedurende 24 uur herhaalde Beuys tien keer dezelfde performance. Hij zat, lag of stond op een sinaasappelkist, die bedekt was met een wit doek, met afwisselend een schop, een dode haas en een camera in zijn handen. Anny De Decker van de Wide White Space in Antwerpen woonde de actie bij en kocht nadien de dubbele schop, die tijdens de actie door Beuys gebruikt werd.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDrei teilen des Aktionssockels, 24 Stunden\u003c/em\u003e se compose d\u0026rsquo;objets que Joseph Beuys a utilis\u0026eacute;s pendant le 24 Stunden Happening du mouvement Fluxus \u0026agrave; Wuppertal en 1965, auquel ont \u0026eacute;galement particip\u0026eacute; des artistes comme Nam June Paik, Dieter Roth, Wolf Vostell et Emmett Williams. Vingt-quatre heures durant, Beuys a r\u0026eacute;p\u0026eacute;t\u0026eacute; la m\u0026ecirc;me performance. Il \u0026eacute;tait, assis, couch\u0026eacute; ou debout, en perp\u0026eacute;tuel contact avec une caisse d\u0026rsquo;oranges couverte d\u0026rsquo;un tissu blanc, alors que ses mains saisissaient alternativement une pelle, un li\u0026egrave;vre, un appareil-enregistreur. Anny De Decker de la Galerie Wide White Space \u0026agrave; Anvers a assist\u0026eacute; \u0026agrave; l\u0026rsquo;action. La double pelle utilis\u0026eacute;e lors de cette action \u0026eacute;tait sa premi\u0026egrave;re acquisition d\u0026rsquo;une \u0026oelig;uvre de Joseph Beuys.\u003c/p\u003e\r\n"}]},{"id":15648,"title":"Element","dimensions":"2 x (44 x 31.5 x 1 cm)","date_begin":"1982-01-01","material":"iron, copper","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":"Museum Ostwall im Dortmunder U, Dortmund, Germany","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEdition: 50 + 10 + 4 a.p., signed, numbered and titled\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Edizioni Factotum-Art, Verona\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":19,"permalink":"element","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDiese eingeschnittenen, rechteckigen Metallplatten (eine aus Kupfer und eine aus Eisen) in identischer Gr\u0026ouml;\u0026szlig;e verk\u0026ouml;rpern den Begriff \u0026bdquo;Element\u0026ldquo;. Beuys verwendete diesen Begriff, um die Verschmelzung von zwei entgegengesetzten Eigenschaften in einem gr\u0026ouml;\u0026szlig;eren Ganzen zu beschreiben. Die zwei Teile bilden zusammen ein drittes Element. Das neue Element verkn\u0026uuml;pft die Eigenschaften von jeder einzelnen Platte. Kupfer enth\u0026auml;lt vor allem weibliche Eigenschaften wie Intuition, Flexibilit\u0026auml;t und Kreativit\u0026auml;t. Eisen hingegen steht vor allem f\u0026uuml;r m\u0026auml;nnliche Eigenschaften wie starres und rationales Denken. In seinem Werk versuchte Beuys die St\u0026auml;rken von beiden Geschlechtern in einer ausgewogenen, \u0026uuml;berragenden Kombination von Gegens\u0026auml;tzen, einer holistischen Einheit zu vereinen.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 50 + 10 + 4 a.p., signed, numbered and titled\u003c/p\u003e\r\n\r\n\u003cp\u003eEdizioni Factotum-Art, Verona\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/000/037/479/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_31.jpg?1507817004","poster_credits":"(c)SABAM België, 2017 - Courtesy Museum Ostwall im Dortmunder U, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThis pair of notched, rectangular, identical in size and shape metal plates (one copper, one iron) embodies the concept of \u0026lsquo;the element\u0026rsquo;. Beuys used this to describe the merger of opposing qualities within a larger, more balanced whole. The two parts can combine to form a third. The new element conjoins the qualities of each of the individual plates. Copper holding more female characteristics, such as intuition, flexibility and creativity, and iron being associated with male features such as inflexible and rational forms of experience. Through his work Beuys attempted to unite the strengths of both genders in a balanced and superior conjunction of opposites, a holistic unity.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 50 + 10 + 4 a.p., signed, numbered and titled\u003c/p\u003e\r\n\r\n\u003cp\u003eEdizioni Factotum-Art, Verona\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDeze beschadigde, rechthoekige, metalen platen (een koperen en een ijzeren), gelijk in maat en vorm belichamen het begrip \u0026lsquo;element\u0026rsquo;. Beuys gebruikte dit begrip om de fusie van tegenstrijdige kwaliteiten binnen een groter, evenwichtiger geheel te beschrijven. De twee delen vormen samen een derde geheel. Het nieuwe element versmelt de kwaliteiten van elke afzonderlijke plaat. Koper bevat vooral vrouwelijke eigenschappen, zoals intu\u0026iuml;tie, flexibiliteit en creativiteit. Aan ijzer worden vooral mannelijke eigenschappen toegekend zoals onbuigzaamheid en rationele vormen van ervaring. In zijn werk probeerde Beuys de sterkten van beide geslachten te verenigen in een evenwichtige en superieure combinatie van tegenstellingen, een holistische eenheid.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 50 + 10 + 4 a.p., signed, numbered and titled\u003c/p\u003e\r\n\r\n\u003cp\u003eEdizioni Factotum-Art, Verona\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eCette paire de plaques de m\u0026eacute;tal dentel\u0026eacute;es, rectangulaires, de taille et de forme identiques (l\u0026#39;une en cuivre, l\u0026#39;autre en fer) incarne le concept de \u0026#39;l\u0026#39;\u0026eacute;l\u0026eacute;ment\u0026#39;. Beuys l\u0026#39;a utilis\u0026eacute;e pour d\u0026eacute;crire la fusion de qualit\u0026eacute;s oppos\u0026eacute;es au sein d\u0026#39;un ensemble plus vaste, plus \u0026eacute;quilibr\u0026eacute;. Les deux \u0026eacute;l\u0026eacute;ments peuvent se combiner pour en former un troisi\u0026egrave;me. Le nouvel \u0026eacute;l\u0026eacute;ment allie les qualit\u0026eacute;s de chacune des plaques individuelles. Ainsi, le cuivre a des caract\u0026eacute;ristiques plus f\u0026eacute;minines comme l\u0026#39;intuition, la flexibilit\u0026eacute; et la cr\u0026eacute;ativit\u0026eacute; et le fer est associ\u0026eacute; \u0026agrave; des fonctions masculines comme des formes inflexibles et rationnelles d\u0026#39;exp\u0026eacute;rience. A travers cette oeuvre, Beuys a tent\u0026eacute; d\u0026#39;unir les forces des deux sexes dans une conjonction \u0026eacute;quilibr\u0026eacute;e et sup\u0026eacute;rieure d\u0026#39;oppos\u0026eacute;s, une unit\u0026eacute; holistique.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 50 + 10 + 4 a.p., signed, numbered and titled\u003c/p\u003e\r\n\r\n\u003cp\u003eEdizioni Factotum-Art, Verona\u003c/p\u003e\r\n"}]},{"id":15652,"title":"1 Wirtschaftswert (Sichel)","dimensions":"21 x 36.5 x 2.5 cm","date_begin":"1976-01-01","material":"sickel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Museum Ostwall im Dortmunder U, Dortmund, Germany","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1984-01-01","reference":"","stream_count_app":16,"permalink":"wirtschaftswert-sichel","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eBeuys begann Mitte der siebziger Jahre mit seiner Erforschung des Wirtschaftswertes von Objekten. Durch verschiedene Projekte hoffte er, den Umfang und den Wert von Objekten zu erh\u0026ouml;hen.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 8\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\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/000/037/586/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_22.jpg?1507817594","poster_credits":"(c)SABAM België, 2017 - Courtesy Museum Ostwall im Dortmunder U, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eBeuys started his exploration of the economic value of objects in the mid-seventies. Through different projects he hoped to increase the scope and the value of objects.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 8\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eVanaf midden jaren zeventig onderzoekt Beuys de economische waarde van objecten. Door het uitvoeren van verschillende projecten hoopt hij het terrein en de waarde van de objecten te vergroten.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEditie: 8\u003c/p\u003e\r\n\r\n\u003cp\u003eEdtion Staeck, Heidelberg\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eBeuys a commenc\u0026eacute; son exploration de la valeur \u0026eacute;conomique des objets au milieu des ann\u0026eacute;es septante. A travers diff\u0026eacute;rents projets, il esp\u0026eacute;rait augmenter la port\u0026eacute;e et la valeur des objets.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 8\u003c/p\u003e\r\n\r\n\u003cp\u003eEdtion Staeck, Heidelberg\u003c/p\u003e\r\n"}]},{"id":15651,"title":"1 Wirtschaftswert (Hammer)","dimensions":"2.7 x 32 x 11.2 cm","date_begin":"1976-01-01","material":"hammer","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Museum Ostwall im Dortmunder U, Dortmund, Germany","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1984-01-01","reference":"","stream_count_app":16,"permalink":"1-wirtschaftswert-hammer","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eBeuys begann Mitte der siebziger Jahre mit seiner Erforschung des Wirtschaftswertes von Objekten. Durch verschiedene Projekte hoffte er, den Umfang und den Wert von Objekten zu erh\u0026ouml;hen.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdtions Staeck, Heidelberg\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/000/037/511/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_21.jpg?1507817636","poster_credits":"(c)SABAM België, 2017 - Courtesy Museum Ostwall im Dortmunder U, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eBeuys started his exploration of the economic value of objects in the mid-seventies. Through different projects he hoped to increase the scope and the value of objects.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdtions Staeck, Heidelberg\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eVanaf midden jaren zeventig onderzoekt Beuys de economische waarde van objecten. Door het uitvoeren van verschillende projecten hoopt hij het terrein en de waarde van de objecten te vergroten.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdtions Staeck, Heidelberg\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eBeuys a commenc\u0026eacute; son exploration de la valeur \u0026eacute;conomique des objets au milieu des ann\u0026eacute;es septante. A travers diff\u0026eacute;rents projets, il esp\u0026eacute;rait augmenter la port\u0026eacute;e et la valeur des objets.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdtions Staeck, Heidelberg\u003c/p\u003e\r\n"}]},{"id":15632,"title":"Die Haut","dimensions":"100 x 152 x 240 cm","date_begin":"1984-01-01","material":"felt cover of \"infiltration homogen für Konzertflügel\"; a cross of red cloth, felt, tissue","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":"Centre  Pompidou, Paris - Musée national d'art moderne / Centre de création industrielle","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eThis work originated during the action\u0026nbsp;\u003cem\u003eInfiltration Homogen f\u0026uuml;r Konzertfl\u0026uuml;gel, der gr\u0026ouml;\u0026szlig;te Komponist der Gegenwart ist das Contergankind\u003c/em\u003e, performed by Joseph Beuys in 1966 during a Fluxus festival at the D\u0026uuml;sseldorf Academy of Fine Arts. With his action, Beuys wanted to highlight the pharmaceutical scandal surrounding thalidomide, a drug that caused serious birth defects in children whose mother took it during pregnancy. Beuys silences a grand piano by coating it with felt. The work seeks to indicate the danger that occurs when we remain silent.\u0026nbsp;\u003cem\u003eInfiltration Homogen f\u0026uuml;r Konzertfl\u0026uuml;gel\u003c/em\u003e\u0026nbsp;was exhibited at Wide White Space in 1970.\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":20,"permalink":"die-haut-la-peau","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDiese Arbeit ist Teil der Aktion \u003cem\u003eInfiltration Homogen f\u0026uuml;r Konzertfl\u0026uuml;gel, der gr\u0026ouml;\u0026szlig;te Komponist der Gegenwart ist das Contergankind\u003c/em\u003e\u003cem\u003e. \u003c/em\u003eBeuys f\u0026uuml;hrte sie w\u0026auml;hrend eines Fluxus-Festivals im Jahr 1966 an der Kunstakademie D\u0026uuml;sseldorf durch. Das Ziel von Beuys bei dieser Aktion war es, auf den Contergan-Skandal aufmerksam zu machen. Dieses Arzneimittel verursachte schwere Geburtsfehler \u0026nbsp;bei Kindern, deren M\u0026uuml;tter das Arzneimittel w\u0026auml;hrend der Schwangerschaft einnahmen. Der Filzbezug bringt das gro\u0026szlig;e Klavier zum Schweigen, was auf die m\u0026ouml;glichen Gefahren hinweist, die entstehen, wenn wir weiterhin schweigen.\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/000/037/451/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_6_5_%282%29.jpg?1507813290","poster_credits":"(c)SABAM België, 2017 - Courtesy Centre Pompidou, Paris, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThis work is part of the action \u003cem\u003eInfiltration Homogen f\u0026uuml;r Konzertfl\u0026uuml;gel, der gr\u0026ouml;\u0026szlig;te Komponist der Gegenwart ist das Contergankind\u003c/em\u003e\u003cem\u003e. \u003c/em\u003eBeuys performed it during a Fluxus festival in 1966 at the D\u0026uuml;sseldorf Academy of Fine Arts. Beuys\u0026rsquo; aim with this action was to highlight the pharmaceutical scandal surrounding thalidomide. This drug caused serious birth defects in children whose mother took it during pregnancy. The felt cover silences the grand piano, indicating the potential dangers should we remain silent.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDit werk is deel van de actie \u003cem\u003eInfiltration Homogen f\u0026uuml;r Konzertfl\u0026uuml;gel, der gr\u0026ouml;\u0026szlig;te Komponist der Gegenwart ist das Contergankind\u003c/em\u003e\u003cem\u003e.\u003c/em\u003e Deze performance door Beuys vond plaats tijdens het Fluxus festival van 1966 aan de Academie voor schone kunsten in D\u0026uuml;sseldorf. Met deze actie wil Beuys de aandacht vestigen op het farmaceutisch schandaal rond thalidomide. Dit geneesmiddel veroorzaakte ernstige afwijkingen bij de kinderen van moeders die het middel namen tijdens de zwangerschap. De vilten overtrek legt de vleugelpiano het zwijgen op. Zo wil Beuys de gevaren aantonen van het stilzwijgen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eCette oeuvre fait partie de l\u0026#39;action \u003cem\u003eInfiltration Homogen f\u0026uuml;r Konzertfl\u0026uuml;gel, der gr\u0026ouml;\u0026szlig;te Komponist der Gegenwart\u003c/em\u003e \u003cem\u003eist das Contergankind\u003c/em\u003e. Beuys l\u0026#39;a r\u0026eacute;alis\u0026eacute;e pendant un festival Fluxus en 1966 \u0026agrave; la D\u0026uuml;sseldorf Academy of Fine Arts. Avec cette action, l\u0026#39;objectif de Beuys \u0026eacute;tait de mettre en lumi\u0026egrave;re le scandale pharmaceutique autour du thalidomide. Ce m\u0026eacute;dicament a caus\u0026eacute; de graves d\u0026eacute;formations \u0026agrave; la naissance chez les enfants dont la m\u0026egrave;re en avait pris pendant la grossesse. Le rev\u0026ecirc;tement en feutre fait taire le piano, indiquant les dangers potentiels si nous demeurions silencieux.\u003c/p\u003e\r\n"}]},{"id":15647,"title":"Gib mir Honig","dimensions":"10 x 9 x 9 cm","date_begin":"1979-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Hall Collection, NY, USA","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEdition: 12, signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Edition Staeck, Heidelberg\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":17,"permalink":"gib-mir-honig","description_ru":"","description_de":"\u003cp\u003eEdition: 12, signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n\r\n\u003cp\u003eIn seinen Werken hat Joseph Beuys oft unkonventionelle Materiale verwendet. Honig und Bienenwachs verweisen zugleich auf Spiritualit\u0026auml;t und politische Harmonie.\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/000/035/684/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_42.jpg?1507816544","poster_credits":"(c)SABAM België, 2017 - Courtesy Hall Art Foundation, NY, USA","translations":[{"locale":"en","description":"\u003cp\u003eEdition: 12, signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n\r\n\u003cp\u003eJoseph Beuys often used unconventional materials for his work. Honey and beeswax stand\u0026nbsp;for both spirituality and political harmony.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEdition: 12, signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n\r\n\u003cp\u003eJoseph Beuys maakte voor zijn werk vaak gebruik van onconventionele materialen. Honing en bijenwas staan zowel voor spiritualiteit als politieke harmonie.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEdition: 12, signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n\r\n\u003cp\u003eDans ses \u0026oelig;uvres, Joseph Beuys utilisait souvent des mat\u0026eacute;riaux peu conventionnels qui remplissaient toutefois une fonction importante. Le miel et la cire d\u0026rsquo;abeille repr\u0026eacute;sentent \u0026agrave; la fois la spiritualit\u0026eacute; et l\u0026rsquo;harmonie politique.\u003c/p\u003e\r\n"}]},{"id":15645,"title":"Action Third Way","dimensions":"3 x (132 x 132 cm)","date_begin":"1978-01-01","material":"chalk, blackboard, walking stick","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":"Hall Art Foundation, NY, USA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"action-third-way","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eAction Third Way\u003c/em\u003e ist Beuys\u0026rsquo; Theorie des politischen Aktivismus, entwickelt in den 1970er-Jahren. Der \u0026bdquo;Third Way\u0026ldquo; entscheidet sich f\u0026uuml;r ein Wirtschaftssystem, das sich von westlichen kapitalistischen Werten und durch den Staat geschaffene Monopole im Zusammenhang mit dem Marxismus absetzt. Beuys\u0026rsquo; gesamte Praxis l\u0026auml;sst sich als Aktion beschreiben, sei es k\u0026uuml;nstlerisch, sozial oder politisch.\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/000/037/442/large/BEUYSJO03.jpg?1507630475","poster_credits":"(c)SABAM België, 2017 - Courtesy Hall Art Foundation, NY, USA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eAction Third Way\u003c/em\u003e is Beuys\u0026rsquo; theory of political activism, developed in the late 1970s. The \u0026lsquo;Third Way\u0026rsquo; opts for an economic system that stands apart from Western capitalist values and state created monopolies associated with Marxism. Beuys\u0026rsquo; entire practice can be described as being actions, whether artistic, social or political.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eAction Third Way\u003c/em\u003e is Beuys\u0026rsquo; theorie voor politiek activisme, ontwikkeld in de late Jaren zeventig. De \u0026lsquo;Third Way\u0026rsquo; verkiest een economisch systeem dat losstaat van het westerse kapitalisme en de door de staat beheerde monopolies van het Marxisme. De artistieke, sociale en politieke praktijk van Beuys kan in zijn geheel worden omschreven als actie.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":16117,"title":"Zelt und Lichstrahl","dimensions":"20.5 x 14.5 cm / 32 x 24.5 cm","date_begin":"1980-01-01","material":"aquatint lithography;ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Muzeum Sztuki, Łódź","cached_tag_list":"aquatint lithography","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":22,"permalink":"zelt-und-lichstrahl","description_ru":"","description_de":"\u003cp\u003eDesigned ca. 1950\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/000/037/433/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_7.jpg?1507819965","poster_credits":"(c)SABAM België, 2017 - Courtesy Muzeum Sztuki, Łódź, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp\u003eDesigned ca. 1950\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDesigned ca. 1950\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDesigned ca. 1950\u003c/p\u003e\r\n"}]},{"id":16123,"title":"Bruno Corà-Tee","dimensions":"28.5 x ø 5.5 cm","date_begin":"1975-01-01","material":"Coca-Cola glass bottle","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Muzeum Sztuki, Łódź","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"bruno-cora-tee","description_ru":"","description_de":"\u003cp\u003eEdition: 40 + 5. A.P.\u003c/p\u003e\r\n\r\n\u003cp\u003eEdizioni Lucio Amelio, Naples\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/000/037/311/large/cola.jpg?1507191689","poster_credits":"(c)SABAM België, 2017 - Courtesy Muzeum Sztuki, Łódź","translations":[{"locale":"en","description":"\u003cp\u003eEdition: 40 + 5. A.P.\u003c/p\u003e\r\n\r\n\u003cp\u003eEdizioni Lucio Amelio, Naples\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEdition: 40 + 5. A.P.\u003c/p\u003e\r\n\r\n\u003cp\u003eEdizioni Lucio Amelio, Naples\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEdition: 40 + 5. A.P.\u003c/p\u003e\r\n\r\n\u003cp\u003eEdizioni Lucio Amelio, Naples\u003c/p\u003e\r\n"}]},{"id":16141,"title":"Uberwindet endlich die Parteiendiktatur (Rettet den Wald)","dimensions":"49.4 x 50 cm","date_begin":"1972-01-01","material":"serigraphy; ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Muzeum Sztuki, Łódź","cached_tag_list":"serigraphy","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"uberwindet-endlich-die-parteiendiktatur-retet-den-wald","description_ru":"","description_de":"\u003cp\u003eEdition: 200, signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eHeinz Moos Verlag, M\u0026uuml;nchen\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/000/037/441/large/uberw.jpg?1507630181","poster_credits":"(c)SABAM België, 2017 - Courtesy Muzeum Sztuki, Łódź","translations":[{"locale":"en","description":"\u003cp\u003eEdition: 200, signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eHeinz Moos Verlag, M\u0026uuml;nchen\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEdition: 200, signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eHeinz Moos Verlag, M\u0026uuml;nchen\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEdition: 200, signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eHeinz Moos Verlag, M\u0026uuml;nchen\u003c/p\u003e\r\n"}]},{"id":16144,"title":"Print from the action Eurasienstab","dimensions":"79.4 x 53 cm / 90 x 63 cm (framed)","date_begin":"1973-01-01","material":"serigraphy; paint, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Muzeum Sztuki, Łódź","cached_tag_list":"serigraphy","publishing_process_id":1,"annotation":"\u003cp\u003eEdition: 180, numbers 1-50 in brown, 51-180 in black; signed and numbered; +50 in black on white cardboard, with fat-stain, signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Edition Staeck, Heidelberg\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":13,"permalink":"eurasienstab-galerie-wide-white-space-antwerp-1968","description_ru":"","description_de":"\u003cp\u003eEdition: 180, numbers 1-50 in brown, 51-180 in black; signed and numbered; +50 in black on white cardboard, with fat-stain, signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\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/000/037/580/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_15_12.jpg?1507817851","poster_credits":"(c)SABAM België, 2017 - Courtesy Muzeum Sztuki, Łódź, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp\u003eEdition: 180, numbers 1-50 in brown, 51-180 in black; signed and numbered; +50 in black on white cardboard, with fat-stain, signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEdition: 180, numbers 1-50 in brown, 51-180 in black; signed and numbered; +50 in black on white cardboard, with fat-stain, signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEdition: 180, numbers 1-50 in brown, 51-180 in black; signed and numbered; +50 in black on white cardboard, with fat-stain, signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n"}]},{"id":16139,"title":"Andy Warhol. Für die Grünen","dimensions":"108 x 78.5 cm","date_begin":"1979-01-01","material":"offset; ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Museum Sztuki, Lodz","cached_tag_list":"offset","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"andy-warhol-fur-die-grunen","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":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/000/036/709/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_44.jpg?1507816651","poster_credits":"(c)SABAM België, 2017 - Courtesy Muzeum Sztuki, Łódź, photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16110,"title":"Eurasienstab","dimensions":"410 x 180 x 130 cm","date_begin":"1968-01-01","material":"wood, copper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Museum Kunstpalast, Düsseldorf","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1969-01-01","reference":"","stream_count_app":12,"permalink":"eurasienstab-064f2988-e0ee-4659-bd05-100ceaa2bb8f","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":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/000/037/583/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_11_8.jpg?1507813117","poster_credits":"(c)SABAM België, 2017 - Courtesy Museum Kunstpalast, Düsseldorf, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eEURASIENSTAB. 82 min fluxorum organum\u003c/em\u003e was first performed in 1967, in Vienna. On February 9, 1968, Joseph Beuys\u0026#39; and musician Henning Christiansen\u0026#39;s iconic action took place at Wide White Space gallery in Antwerp, where it was also recorded on 16mm film. Beuys performs a ritual for symbolically reuniting the four winds of Eurasia, seeking to reconcile Asian spirituality with European rationality. To bring these seemingly opposing energies in balance he uses the Eurasienstab, a long staff made of copper. The staff, used by the priest, the shepherd and the shaman alike, is a recurring motif in Beuys\u0026rsquo; work, and occasionally with a walking stick as a surrogate.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eEURASIENSTAB. 82 min fluxorum organum\u003c/em\u003e werd voor het eerst opgevoerd in 1967 in Wenen. Op 9 februari 1968 vond de iconische actie van Joseph Beuys en muzikant Henning Christiansen plaats in de Wide White Space te Antwerpen, waar ze ook op 16mm-film werd opgenomen. Beuys voerde een ritueel op om de vier windrichtingen van Eurazi\u0026euml; symbolisch terug met elkaar te verbinden en Aziatische spiritualiteit te verzoenen met Europees realisme. Om deze tegengestelde energie\u0026euml;n terug in balans te brengen gebruikt hij de Eurasienstab, een lange staf uit koper. De staf, die zowel door de priester, de herder als de sjamaan wordt gebruikt, was een terugkerend motief in het werk van Beuys en kwam ook voor in de vorm van een wandelstok.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLa performance \u003cem\u003eEURASIENSTAB. 82 min fluxorum organum\u003c/em\u003e est pr\u0026eacute;sent\u0026eacute;e pour la premi\u0026egrave;re fois en 1967 \u0026agrave; Vienne. Le 9 f\u0026eacute;vrier 1968, l\u0026rsquo;action iconique de Joseph Beuys et du musicien Henning Christiansen se d\u0026eacute;roule \u0026agrave; la galerie anversoise Wide White Space, o\u0026ugrave; elle est \u0026eacute;galement film\u0026eacute;e en 16 mm. En enduisant les angles de la galerie de beurre, Beuys souhaite symboliquement relier les quatre directions du vent d\u0026rsquo;Eurasie ; relier la spiritualit\u0026eacute; asiatique et le r\u0026eacute;alisme europ\u0026eacute;en et r\u0026eacute;tablir l\u0026rsquo;\u0026eacute;quilibre entre \u0026eacute;nergies oppos\u0026eacute;es. Pour ce faire, il utilise l\u0026rsquo;Eurasienstab, une longue tige courb\u0026eacute;e en cuivre. Le b\u0026acirc;ton, qu\u0026rsquo;utilisent aussi bien le pr\u0026ecirc;tre, le berger que le chamane, est un \u0026eacute;l\u0026eacute;ment r\u0026eacute;current dans l\u0026rsquo;\u0026oelig;uvre de Beuys et revient aussi sous la forme d\u0026rsquo;une canne.\u003c/p\u003e\r\n"}]},{"id":16125,"title":"Mirror Piece","dimensions":"19.5 x Ø 10.5 cm, 23 x Ø 14.7 cm","date_begin":"1975-01-01","material":"glass bottle, cardboard box","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Muzeum Sztuki, Łódź","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"mirror-piece","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDie gl\u0026auml;serne Apothekerflasche in \u003cem\u003eMirror Piece\u003c/em\u003e ist von au\u0026szlig;en mit einer Silber- und einer Kupferschicht sowie einem braunen Schutzlack \u0026uuml;berzogen. Lediglich eine kleine Stelle gew\u0026auml;hrt einen Einblick in das Innere, wo ein St\u0026uuml;ck Jodkristall liegt. Die Flasche wird in einem zylindrischen Pappbeh\u0026auml;lter mit einem aufgedruckten Diagramm aufbewahrt. Die Kombination aus allen Elementen dient als Reaktion auf die Bedeutung der Flasche als Metapher (Spiegel) f\u0026uuml;r den menschlichen Geist.\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/000/036/164/large/mirrora.jpg?1507629519","poster_credits":"(c)SABAM België, 2017 - Courtesy Muzeum Sztuki, Łódź","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe glass apothecary flask in \u003cem\u003eMirror Piece\u003c/em\u003e has been coated in layers of silver, copper and brown paint, with only a small area left unpainted. This lets the viewers look inside and see an iodine crystal. The flask is housed in a cylindrical cardboard box, on which a diagram is printed. All elements combine to comment on the flask\u0026rsquo;s significance as a metaphor (mirror) of the human mind.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe glazen apothekerskolf in \u003cem\u003eMirror Piece\u003c/em\u003e is bedekt met lagen zilver, koper en bruine verf. Een klein stuk werd onbeschilderd gelaten, zo kan er in de kolf naar een jodiumkristal worden gekeken. De kolf wordt in een cilindrische kartonnen doos bewaard, waarop een diagram is afgedrukt. De combinatie van alle elementen dient als reactie op het belang van de kolf als metafoor (spiegel) voor de menselijke geest.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLa fiole de pharmacien en verre de \u003cem\u003eMirror Piece\u003c/em\u003e a \u0026eacute;t\u0026eacute; recouverte de couches d\u0026#39;argent, de cuivre et de peinture brune, en laissant seulement une petite zone sans peinture. Ainsi, le public peut regarder \u0026agrave; l\u0026#39;int\u0026eacute;rieur et voir un cristal d\u0026#39;iode. La fiole est contenue dans une bo\u0026icirc;te en carton cylindrique sur laquelle un diagramme est imprim\u0026eacute;. Tous les \u0026eacute;l\u0026eacute;ments se combinent pour commenter la signification de la fiole en tant que m\u0026eacute;taphore (miroir) de l\u0026#39;esprit humain.\u003c/p\u003e\r\n"}]},{"id":16113,"title":"Dschingis Khan's Tochter","dimensions":"30.5 x 30 cm","date_begin":"1958-01-01","material":"offset, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Muzeum Sztuki, Łódź","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"dschingis-khan-s-tochter","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys bewunderte sehr Dzjengis Khan, den mongolischen F\u0026uuml;hrer aus dem 13. Jahrhundert, der das gr\u0026ouml;\u0026szlig;te Teil Eurasiens erobert hatte und in seinem Kielwasser Bruchst\u0026uuml;cke der asiatischen Kultur in den Westen eingef\u0026uuml;hrt hat. Beuys hatte der Tochter Dzjengis Khans, die nach ihm einen Plan f\u0026uuml;r die Zukunft mit sich trug, eine wichtige Rolle w\u0026auml;hrend dieser mythischen Reise zugeteilt. Obschon Khan bei uns vor allem als einen grausamen Eroberer gesehen wird, ist auch bekannt dass er tolerant war gegen\u0026uuml;ber anderen Religionen und dass er Nomadenst\u0026auml;mme vereinigt hat.\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/000/037/319/large/khans.jpg?1507194422","poster_credits":"(c)SABAM België, 2017 - Courtesy Muzeum Sztuki, Łódź","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys was deeply interested in Genghis Khan, the 13th-century Mongolian leader who conquered most of Eurasia and, in his wake, introduced aspects of Asian culture into the West. Beuys saw Genghis Khan\u0026rsquo;s daughter as playing an important role during this mythical journey: She is understood to have carried a plan for the future. Although in much of the West, Khan is seen as a cruel conqueror, he is also known as having been tolerant to different religions and as someone who united nomadic tribes.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys toonde een grote interesse voor Dzjengis Khan, de 13\u003csup\u003ede\u003c/sup\u003e -eeuwse Mongoolse leider die het grootste deel van Eurazi\u0026euml; wist te veroveren en in zijn kielzog flarden van Aziatische cultuur in het Westen introduceerde. Beuys dichtte Dzjengis Khans dochter, die volgens hem een plan voor de toekomst met zich meedroeg, een belangrijke rol toe tijdens deze mythische reis. Hoewel Khan in onze streken vooral gezien wordt als een wrede veroveraar, staat hij ook bekend als tolerant tegenover verschillende godsdiensten en als diegene die nomadische stammen wist te verenigen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys s\u0026rsquo;int\u0026eacute;ressait \u0026agrave; Gengis Khan, le chef mongol du XIIIe si\u0026egrave;cle qui a su conqu\u0026eacute;rir la plus grande partie de l\u0026rsquo;Eurasie et qui a introduit dans son sillage des bribes de culture asiatique en Occident. Beuys attribuait \u0026agrave; la fille de Gengis Khan, qui \u0026eacute;tait selon lui porteuse d\u0026rsquo;un projet d\u0026rsquo;avenir, un r\u0026ocirc;le important pendant ce voyage mythique. Bien que Gengis Khan soit surtout per\u0026ccedil;u dans nos r\u0026eacute;gions comme un conqu\u0026eacute;rant cruel, il est aussi connu pour s\u0026rsquo;\u0026ecirc;tre montr\u0026eacute; tol\u0026eacute;rant vis-\u0026agrave;-vis des autres religions et comme celui qui a su unir les tribus nomades.\u003c/p\u003e\r\n"}]},{"id":16159,"title":"Cosmas und Damian","dimensions":"4 x (44.5 x 34.7 cm) / 4 x (73 x 60.5 x 33 cm) (framed)","date_begin":null,"material":"photo, cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":105,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Viehof, Mönchengladbach","cached_tag_list":"photography","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"cosmas-und-damian","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eAuf ein Foto des damals nagelneuen World Trade Center, das Joseph Beuys w\u0026auml;hrend seines ersten Besuches an den Vereinigten Staaten im Jahre 1974 gekauft hat, schrieb er auf die T\u0026uuml;rme die W\u0026ouml;rter Cosmos und Damian, wobei er auf die fr\u0026uuml;hchristlichen Heiligen Cosmos und Damian aus Syrien verwies. Im 3. Jahrhundert waren diese Zwillingsbruder als Wander\u0026auml;rzte t\u0026auml;tig. Sie sollten die allererste chirurgische Transplantation vorgenommen haben, die \u0026ndash; wobei das amputierte Bein eines Italieners mit dem Bein eines Nordafrikaners ersetzt wurde \u0026ndash; au\u0026szlig;erdem einen transkulturellen und interreligi\u0026ouml;sen Charakter hatte. Beuys verwendete diese Schutzheiligen der Heilberufe die dabei auch \u003cem\u003eanargyroi genannt wurden \u0026nbsp;\u003c/em\u003e(was ohne Geld oder unbestechlich bedeutet) weil sie verweigerten Geld f\u0026uuml;r Ihre Dienstleistungen anzunehmen \u0026ndash; um das Symbol des amerikanischen Kapitalismus zu untergraben.\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/000/037/312/large/Beuys__Cosmas_und_Damian_SSP_109_I.jpg?1507192014","poster_credits":"(c)SABAM België, 2017 - Courtesy Viehof Collection","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eOn a picture of the then brand-new World Trade Centre, a photo he bought during his first visit to the United States in 1974, Beuys wrote the words \u0026#39;Cosmos\u0026#39; and \u0026#39;Damian\u0026#39; on its towers respectively, referring to the early Christian saints Cosmas and Damian from modern-day Syria, later adopted as the patron saints of the Medici. In the 3rd century these twin brothers were active as wandering doctors. They are said to have performed the very first surgical transplant, which also had an intercultural and interreligious character: they for example, replaced the amputated leg of an Italian with that of a North African man. Beuys uses these patron saints of the medical professions, who were also so-called \u003cem\u003eanargyroi\u003c/em\u003e (meaning \u0026#39;silverless\u0026#39; or \u0026#39;incorruptible\u0026#39;) because they refused to accept money for their services, to subvert the symbol of American capitalism.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eOp een foto van het toen gloednieuwe World Trade Center die Joseph Beuys tijdens zijn eerste bezoek aan de Verenigde Staten in 1974 kocht, schreef hij op de torens de woorden \u0026ldquo;Cosmos\u0026rdquo; en \u0026ldquo;Damian\u0026rdquo;, verwijzend naar de vroegchristelijke heiligen Cosmas en Damian uit Syri\u0026euml;. Deze tweelingbroers waren in de 3\u003csup\u003ede\u003c/sup\u003e eeuw actief als rondtrekkende artsen. Zij zouden de allereerste chirurgische transplantatie hebben uitgevoerd, die \u0026ndash;door het geamputeerde been van een Italiaan te vervangen door dat van een Noord-Afrikaan\u0026ndash; bovendien een intercultureel en interreligieus karakter had. Beuys gebruikte deze patroonheiligen van de medische beroepen \u0026ndash;die bovendien door het leven gingen als anargyroi (wat zonder geld of onomkoopbaar betekent) omdat ze weigerden geld aan te nemen voor hun diensten\u0026ndash; om het symbool van het Amerikaanse kapitalisme te ondergraven.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eSur les tours d\u0026rsquo;une photo du World Trade Center, alors flambant neuf, que Joseph Beuys a achet\u0026eacute; lors de son premier s\u0026eacute;jour aux \u0026Eacute;tats-Unis en 1974, il a \u0026eacute;crit les mots \u0026laquo; Cosmos \u0026raquo; et \u0026laquo; Damian \u0026raquo;, renvoyant aux deux saints des d\u0026eacute;buts du christianisme, C\u0026ocirc;me et Damien de Syrie. Ces fr\u0026egrave;res jumeaux qui ont v\u0026eacute;cu au IIIe si\u0026egrave;cle pratiquaient la m\u0026eacute;decine de fa\u0026ccedil;on itin\u0026eacute;rante. Ils auraient \u0026eacute;t\u0026eacute; les tout premiers \u0026agrave; avoir r\u0026eacute;alis\u0026eacute; une transplantation chirurgicale ayant de surcro\u0026icirc;t une dimension interculturelle et interreligieuse puisqu\u0026rsquo;ils auraient remplac\u0026eacute; la jambe amput\u0026eacute;e d\u0026rsquo;un Italien par celle d\u0026rsquo;un Nord-Africain. Beuys a utilis\u0026eacute; ces saints patrons des professions m\u0026eacute;dicales, qui ont v\u0026eacute;cu comme des \u003cem\u003eanargyroi \u003c/em\u003e(sans argent) refusant toute r\u0026eacute;mun\u0026eacute;ration pour leurs services, en vue de transformer le symbole du capitalisme \u0026eacute;tats-unien.\u003c/p\u003e\r\n"}]},{"id":16119,"title":"Magnetischer Abfall","dimensions":"10.5 x 14.7 x 1 cm","date_begin":"1975-01-01","material":"steel, razor blade","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Muzeum Sztuki, Łódź","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEdition: 80 + 15 a.p., signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Edition Staeck, Heidelberg\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":11,"permalink":"magnetischer-abfall","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eBeuys versuchte, magnetische Postkarten anzufertigen, jedoch entdeckte er im Laufe des Verfahrens, dass es unm\u0026ouml;glich ist, um Eisenplatten zu magnetisieren. So erhielt die Arbeit den Namen \u0026bdquo;magnetischer Abfall\u0026ldquo;.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 80 + 15 a.p., signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\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/000/037/435/large/magne.jpg?1507629318","poster_credits":"(c)SABAM België, 2017 - Courtesy Muzeum Sztuki, Łódź","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eWhile attempting to produce magnetic postcards, Beuys discovered that printable iron sheets could not be magnetised. As such, the object was called \u0026rsquo;Magnetic Rubbish\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 80 + 15 a.p., signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eBeuys trachtte magnetische postkaarten te maken, maar ontdekte in de loop van het proces dat het onmogelijk is om ijzeren platen te magnetiseren. Zo kreeg het werk de naam \u0026lsquo;magnetisch afval\u0026rsquo;.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 80 + 15 a.p., signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEn essayant de produire des cartes postales magn\u0026eacute;tiques, Beuys a d\u0026eacute;couvert que les t\u0026ocirc;les de fer imprimables ne pouvaient pas \u0026ecirc;tre magn\u0026eacute;tis\u0026eacute;es. En tant que tel, l\u0026#39;objet a \u0026eacute;t\u0026eacute; baptis\u0026eacute; \u0026#39;D\u0026eacute;chet magn\u0026eacute;tique\u0026#39;.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 80 + 15 a.p., signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n"}]},{"id":16115,"title":"Aus dem Leben der Bienen","dimensions":"56 x 76 cm","date_begin":"1950-01-01","material":"lithography; ink on graphic paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Muzeum Sztuki, Łódź","cached_tag_list":"lithography","publishing_process_id":1,"annotation":"","date_end":"1980-01-01","reference":"","stream_count_app":15,"permalink":"aus-dem-leben-der-bienen","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eVon Anbeginn an spielten die Tiere eine bedeutende Rolle im Werk von Beuys. Er bringt die Organisation der Bienen mit gesellschaftlichen Prozessen in Verbindung. Bienen produzieren auch Honig, was er als eine Quelle nat\u0026uuml;rlicher Energie ansah. Die Vorstellungen von Beuys \u0026uuml;ber Bienen wurden in hohem Ma\u0026szlig;e von dem Philosophen Rudolf Steiner beeinflusst.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 100\u003c/p\u003e\r\n\r\n\u003cp\u003eGrafos-Verlag, Vaduz and Verlag Schellmann \u0026amp; Kl\u0026uuml;ser, M\u0026uuml;nchen\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/000/037/308/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_47.jpg?1507819272","poster_credits":"(c)SABAM België, 2017 - Courtesy Muzeum Sztuki, Łódź, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eFrom the very beginning, animals played an important role in Beuys\u0026rsquo; work. He relates the organisation of bees to societal processes. Bees also produce honey, which he saw as a source of natural energy. The ideas of Beuys concerning bees are greatly influenced by philosopher Rudolf Steiner.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 100\u003c/p\u003e\r\n\r\n\u003cp\u003eGrafos-Verlag, Vaduz and Verlag Schellmann \u0026amp; Kl\u0026uuml;ser, M\u0026uuml;nchen\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eVanaf het prille begin spelen dieren een belangrijke rol in het oeuvre van Beuys. Zo brengt hij de organisatie van bijen in verband met maatschappelijke processen. Bijen produceren honing, voor Beuys een bron van natuurlijke energie. De idee\u0026euml;n van Beuys over bijen zijn sterk be\u0026iuml;nvloed door de leer van filosoof Rudolf Steiner.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 100\u003c/p\u003e\r\n\r\n\u003cp\u003eGrafos-Verlag, Vaduz and Verlag Schellmann \u0026amp; Kl\u0026uuml;ser, M\u0026uuml;nchen\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eDepuis le tout d\u0026eacute;but, les animaux ont jou\u0026eacute; un r\u0026ocirc;le important dans l\u0026#39;oeuvre de Beuys. Il compare l\u0026#39;organisation des abeilles aux processus soci\u0026eacute;taux. Les abeilles produisent \u0026eacute;galement du miel, qu\u0026#39;il consid\u0026eacute;rait comme une source d\u0026#39;\u0026eacute;nergie naturelle. Les id\u0026eacute;es de Beuys concernant les abeilles sont grandement influenc\u0026eacute;es par le philosophe Rudolf Steiner.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 100\u003c/p\u003e\r\n\r\n\u003cp\u003eGrafos-Verlag, Vaduz and Verlag Schellmann \u0026amp; Kl\u0026uuml;ser, M\u0026uuml;nchen\u003c/p\u003e\r\n"}]},{"id":16226,"title":"Silberbesen und Besen ohne Haare","dimensions":"139 x 51 cm, 130 x 51 cm","date_begin":"1972-01-01","material":"horsehair, wood, silver, copper, felt","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Neues Museum Nürnberg, Nürnberg","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEdition: 20 + 4, inscription \u0026#39;Joseph Beuys\u0026quot; and numbering on silver broom\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Edition Ren\u0026eacute; Block, Berlin\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"background-color:#ffff00;\"\u003eCourtesy Block Collection on permanent loan to Neues Museum N\u0026uuml;rnberg\u003c/span\u003e\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":9,"permalink":"silberbesen-und-besen-ohne-haare","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eAnfang der Jahre 1970 hat Joseph Beuys in seiner Aktion verschiedene Male Besen verwendet als Symbol der reinigenden Bestrebens seines Werkes und die Gelegenheit reinen Tisch zu machen. So verwendete Beuys in 1972 einen feuerroten Besen um zur\u0026uuml;ckgebliebenen M\u0026uuml;ll nach einer kommunistischen Demonstration am 01. Mai am Karl-Marx-Platz in Berlin wegzuwischen. Auf diese Weise \u0026auml;u\u0026szlig;erte er das seine Unzufriedenheit \u0026uuml;ber die ideologische Fixierung von Leuten nicht nur f\u0026uuml;r den Kapitalismus sondern auch f\u0026uuml;r den Kommunismus galt. Einer der Besen von \u003cem\u003eSilberbesen und Besen ohne Haare \u003c/em\u003eist mit Blattsilber bezogen. Der andere Besen besteht aus massivem Kupfer und hat eine Filzschicht statt Haare.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 20 + 4, inscription \u0026#39;Joseph Beuys\u0026quot; and numbering on silver broom\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Ren\u0026eacute; Block, Berlin\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/000/037/577/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_12_3.jpg?1507802382","poster_credits":"(c)SABAM België, 2017 - Courtesy Neues Museum Nürnberg, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eIn the early 1970s, Joseph Beuys used brooms several times during his actions as a symbol for the purifying ambitions of his work, and the opportunities it offered to start again with a clean slate. In 1972, Beuys used a bright red broom to sweep up the residual waste left behind at a communist May Day demonstration on Karl-Marx-Platz in Berlin. In so doing, he made clear that he was not only dissatisfied with people\u0026#39;s ideological fixation within capitalism, but also within communism. One of the brooms from \u003cem\u003eSilberbesen und Besen ohne Haare\u003c/em\u003e is coated with silver leaf. The other broom consists of solid copper and features a sheet of felt instead of bristles.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 20 + 4, inscription \u0026#39;Joseph Beuys\u0026quot; and numbering on silver broom\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Ren\u0026eacute; Block, Berlin\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eIn het begin van de jaren 1970 gebruikte Joseph Beuys verschillende keren bezems tijdens zijn acties, als symbool voor de zuiverende ambities van zijn werk en voor de mogelijkheid met een propere lei te beginnen. Zo gebruikte Beuys in 1972 een knalrode bezem om het achtergebleven afval na een communistische 1 mei demonstratie op de Karl-Marx-Platz in Berlijn op te vegen. Op die manier maakte hij duidelijk dat zijn ongenoegen over de ideologische fixatie van mensen niet louter gold voor het kapitalisme, maar ook voor het communisme. Een van de bezems van Silberbesen und Besen ohne Haare is bekleed met bladzilver. De andere bezem bestaat uit massief koper en heeft een vel vilt in plaats van haren.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 20 + 4, inscription \u0026#39;Joseph Beuys\u0026quot; and numbering on silver broom\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Ren\u0026eacute; Block, Berlin\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eAu d\u0026eacute;but des ann\u0026eacute;es 70, Joseph Beuys a utilis\u0026eacute; \u0026agrave; plusieurs reprises des balais lors de ses actions. Ainsi, en 1972, il s\u0026rsquo;est servi d\u0026rsquo;un balai rouge vif pour balayer les d\u0026eacute;tritus subsistants de la manifestation communiste du 1er mai sur la place Karl Marx \u0026agrave; Berlin. Ainsi, il a clairement fait comprendre que sa contrari\u0026eacute;t\u0026eacute; envers la fixation id\u0026eacute;ologique des gens ne se limitait pas qu\u0026rsquo;au capitalisme, mais concernait aussi le communisme. Un des balais de \u003cem\u003eSilberbesen und Besen ohne Haare\u003c/em\u003e est recouvert de feuille d\u0026rsquo;argent. L\u0026rsquo;autre balai, en cuivre massif, a une feuille de feutre au lieu d\u0026rsquo;une brosse.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 20 + 4, inscription \u0026#39;Joseph Beuys\u0026quot; and numbering on silver broom\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Ren\u0026eacute; Block, Berlin\u003c/p\u003e\r\n"}]},{"id":16636,"title":"Transsibirische Bahn","dimensions":"80 x 58 cm","date_begin":"1970-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"transsibirische-bahn","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":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/000/036/721/large/JB_00007.jpg?1507636790","poster_credits":"(c)SABAM België, 2017 - scan: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16637,"title":"Bei dieser Wahl: die Grünen","dimensions":"4 x (88 x 63 cm","date_begin":null,"material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"bei-dieser-wahl-die-grunen","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":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/000/036/710/large/Wahl_die_Gr%C3%BCnen_1.jpg?1505407551","poster_credits":"(c)SABAM België, 2017 - photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16640,"title":"Discussione con Beuys, 1978","dimensions":"","date_begin":"1978-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA,  Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"discussione-con-beuys-1978","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":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/000/036/723/large/discussione.jpg?1505461636","poster_credits":"(c)SABAM België, 2017 - photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16643,"title":"Free International University. Durch Menschen ...","dimensions":"","date_begin":null,"material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"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":"","stream_count_app":9,"permalink":"free-internation-university-durch-menschen","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":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/000/036/714/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_27.jpg?1507818750","poster_credits":"(c)SABAM België, 2017 - photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16645,"title":"Kunst = Kapital","dimensions":"116 x 74 x 25 cm","date_begin":"1979-01-01","material":"object with fire extinguisher","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":105,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Hall Art Foundation, NY, USA","cached_tag_list":"object fire extinguisher","publishing_process_id":1,"annotation":"","date_end":"1984-01-01","reference":"","stream_count_app":14,"permalink":"kunst-kapital-a64e737d-65fe-42a7-b4a5-3073d592cf21","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eBeuys kreierte eine gro\u0026szlig;e Zahl von Editionen mit dem Slogan \u0026bdquo;Kunst=Kapital\u0026ldquo;, oft auf Geldscheinen. Damit macht er auf die erdr\u0026uuml;ckende Dominanz von Geld aufmerksam.\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/000/037/475/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_15_18.jpg?1507806839","poster_credits":"(c)SABAM België, 2017 - Courtesy Hall Art Foundation, NY, USA, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp\u003eBeuys created a large number of editions bearing the slogan \u0026ldquo;Kunst=Kapital\u0026rdquo;, often on banknotes. With it he points out the overwhelming dominance of money.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eBeuys maakte een groot aantal edities waar de slogan \u0026ldquo;Kunst=Kapital\u0026rdquo; opstaat, dit vaak op bankbiljetten. Hiermee wil Beuys de overweldigende dominantie van geld aantonen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eBeuys a cr\u0026eacute;\u0026eacute; un grand nombre d\u0026#39;\u0026eacute;ditions portant le slogan \u0026laquo;\u0026nbsp;Kunst=Kapital\u0026nbsp;\u0026raquo;, souvent sur des billets de banque. Il pointe ainsi le doigt sur la domination \u0026eacute;crasante de l\u0026#39;argent.\u003c/p\u003e\r\n"}]},{"id":16858,"title":"Demonstration für Lohaus","dimensions":"22 x 15.4 cm","date_begin":"1962-01-01","material":"pencil, oil colour, water colour, gold colour on paper, adhesive edges, paper","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":"Museum Schloss Moyland, Sammlung van der Grinten Bedburg - Hau/Kreis Kleve","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"demonstration-fur-lohaus","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":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/000/037/571/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_41.jpg?1507816392","poster_credits":"(c)SABAM België, 2017 - Courtesy Museum Schloss Moyland, Sammlung van der Grinten Bedburg - Hau/Kreis Kleve, photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16868,"title":"Grab des Dschingis","dimensions":"36 x 34.5 x 1.2 cm","date_begin":"1957-01-01","material":"oil paint, tempera, gold bronze, wax on cardboard box, nails, brown-stained wooden board","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Museum Schloss Moyland, Sammlung van der Grinten Bedburg - Hau/Kreis Kleve","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"grab-des-dschingis","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":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/000/037/566/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_188.jpg?1507819065","poster_credits":"(c)SABAM België, 2017 - Courtesy Museum Schloss Moyland, Sammlung van der Grinten Bedburg - Hau/Kreis Kleve, photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16873,"title":"Mit Filzfettecke","dimensions":"10.5 x 14.7 x 1 cm","date_begin":"1965-01-01","material":"soap bar, paint, black and white photograph","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"mit-filzfettecke","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":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/000/037/503/large/mit_Filterfettecke_%28Seife%29.jpg?1507709649","poster_credits":"(c)SABAM België, 2017 - photo: Dirk Pauwels, S.M.A.K., Gent","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16876,"title":"Portrait","dimensions":"10 x 15 cm","date_begin":null,"material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eundated\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":7,"permalink":"portrait-a7efe666-7cc4-4020-8fb3-2479577fe64d","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":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/000/037/562/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_40.jpg?1507816495","poster_credits":"(c)SABAM België, 2017 - Courtesy private collection, photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16879,"title":"Schädel auf Urschlitten","dimensions":"26 x 39.5 cm","date_begin":"1954-01-01","material":"pencil, watercolour, cardboard","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":"Deutsche Bank","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"schadel-auf-urschlitten","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":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/000/037/561/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_14.jpg?1507821156","poster_credits":"(c)SABAM België, 2017 - Courtesy Deutsche Bank, photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16885,"title":"Untitled","dimensions":"20.9 x 14.5 cm","date_begin":null,"material":"pencil, paper","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":"Museum Schloss Moyland, Sammlung van der Grinten Bedburg - Hau/Kreis Kleve","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eUndated\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":8,"permalink":"untitled-c635c8ae-12a4-46bb-a25e-741e6b58989a","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":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/000/037/558/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_17.jpg?1507818021","poster_credits":"(c)SABAM België, 2017 - Courtesy Museum Schloss Moyland, Sammlung van der Grinten Bedburg - Hau/Kreis Kleve, photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16888,"title":"Untitled","dimensions":"20.5 x 26.6 cm","date_begin":"1959-01-01","material":"pencil, cardboard","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":"Deutsche Bank","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"untitled-7001c22a-fab5-41b6-a274-cda652047615","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":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/000/037/554/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_9.jpg?1507820540","poster_credits":"(c)SABAM België, 2017 - Courtesy Deutsche Bank, photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16881,"title":"Schwäne","dimensions":"25.4 x 37.5 cm","date_begin":"1953-01-01","material":"watercolour; pencil on paper","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":"Deutsche Bank","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"schwane","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDas Symbol des Schwans verbindet Kleve, die Heimatstadt Beuys mit Antwerpen. Das Tier kommt oft vor in der niederrheinischen Mythologie und aus seinem Schlafzimmer in Kleve konnte Beuys in seinen Kinderjahren sogar einen goldenen Schwan auf dem Dach der Schwanenburg sehen. Schon fr\u0026uuml;h wurde Beuys auch vom Komponisten Richard Wagner beeinflusst. Die Oper \u003cem\u003eLohengrin \u003c/em\u003eist eine Fortsetzung der europ\u0026auml;ischen Schwanrittertradition und spielt sich an den Ufern der Schelde in Antwerpen ab.\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/000/037/513/large/950805a324bac0071778ce469312d9e9--lost-art-art-drawings.jpg?1507740088","poster_credits":"(c)SABAM België, 2017 - Courtesy Deutsche Bank","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe symbol of the swan connects Beuys\u0026rsquo; hometown of Cleves with Antwerp. The animal often appears in Rhineland mythology, and during his childhood Beuys could see the golden swan at the top of the Schwanenburg castle from his bedroom. Early in his life, Beuys was also influenced by the composer Richard Wagner, particularly his Lohengrin opera, a continuation of the European \u0026lsquo;Swan Knight\u0026rsquo; tradition, which is set in Antwerp on the banks of the river Schelde.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eHet symbool van de zwaan verbindt Beuys\u0026rsquo; thuisstad Kleef met Antwerpen. Het dier komt vaak voor in de mythologie van de Neder-Rijn en vanuit zijn slaapkamer in Kleef kon Beuys tijdens zijn kindertijd zelfs een gouden zwaan zien staan op het dak van de Schwanenburg. Beuys werd vroeg in zijn leven ook be\u0026iuml;nvloed door componist Richard Wagner. De opera Lohengrin is een verderzetting van Europese Zwaanridder traditie en speelt zich af aan de oevers van de Schelde in Antwerpen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLe symbole du cygne relie Cl\u0026egrave;ves \u0026agrave; Anvers. L\u0026rsquo;animal revient souvent dans la mythologie de la Basse-Rh\u0026eacute;nanie et, enfant, Beuys pouvait m\u0026ecirc;me voir de sa chambre \u0026agrave; coucher \u0026agrave; Cl\u0026egrave;ves, un cygne dor\u0026eacute; sur le toit du ch\u0026acirc;teau Schwanenburg. Tr\u0026egrave;s jeune, Beuys a \u0026eacute;t\u0026eacute; influenc\u0026eacute; par le compositeur Richard Wagner. Pour l\u0026rsquo;op\u0026eacute;ra Lohengrin \u0026ndash; qui se d\u0026eacute;roule d\u0026rsquo;ailleurs au bord de l\u0026rsquo;Escaut, \u0026agrave; proximit\u0026eacute; d\u0026rsquo;Anvers \u0026ndash;, Wagner s\u0026rsquo;est servi de la l\u0026eacute;gende m\u0026eacute;di\u0026eacute;vale du Chevalier du Cygne qui porte aussi le nom de Lohengrin.\u003c/p\u003e\r\n"}]},{"id":16864,"title":"Fond IV/4","dimensions":"48.5 x 68 cm","date_begin":"1975-01-01","material":"copper plate, 4 black and white photographs","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Isi Fizman","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"fond-iv-4","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDieses Werk hat Joseph Beuys 1975 in seiner Performance w\u0026auml;hrend \u003cem\u003eSalto Arte\u003c/em\u003e in Br\u0026uuml;ssel verwendet. Diese Veranstaltung in einem Zirkuszelt fand gleichzeitig statt als die von Harald Szeemann kuratierte Ausstellung \u003cem\u003eJe \u0026ndash; Nous = Ik \u0026ndash; Wij, \u003c/em\u003eim Museum von Elsene und hatte den Zweck den Konkurs der linken Zeitschrift \u003cem\u003ePour\u003c/em\u003e von Isi Fiszman und Jean-Claude Garot abzuwenden. Das Werk steht direkt in Verbindung mit der gr\u0026ouml;\u0026szlig;eren Installation \u003cem\u003eFond IV/4\u003c/em\u003e, die in \u003cem\u003eJe \u0026ndash; Nous = Ik \u0026ndash; Wij \u003c/em\u003egezeigt wurde\u003cem\u003e. \u003c/em\u003eZwischen 1954 und 1984 hat Beuys eine Reihe von Werken geschaffen mit dem Titel \u003cem\u003eFond\u003c/em\u003e die alle die Lagerung und den Transport von Energie als Thema hatten.\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/000/037/602/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_15_22.jpg?1507813877","poster_credits":"(c)SABAM België, 2017 - Courtesy Isi Fizman, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThis work\u0026nbsp;used by Beuys for his performance as part of the \u003cem\u003eSalto Arte\u003c/em\u003e circus event in Brussels in 1975, which coincided with the \u003cem\u003eJe - Nous = Ik \u0026ndash; Wij\u003c/em\u003e exhibition at the Museum of Ixelles curated by Harald Szeemann. The work is directly related to the larger installation \u003cem\u003eFond IV/4\u003c/em\u003e exhibited in \u003cem\u003eJe - Nous = Ik \u0026ndash; Wij\u003c/em\u003e. The circus event was organised to raise funds for Isi Fiszman and Jean-Claude Garot\u0026#39;s leftist magazine Pour. Between 1954 and 1984, Beuys made a series of works with the title \u003cem\u003eFond\u003c/em\u003e (meaning \u0026#39;base\u0026#39;, but also \u0026#39;background\u0026#39;) which all thematise the storage and emission of energy.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDit werk gebruikte Joseph Beuys in zijn performance tijdens \u003cem\u003eSalto Arte\u003c/em\u003e in Brussel in 1975. Dit evenement in een circustent liep parallel met de tentoonstelling \u003cem\u003eJe \u0026ndash; Nous = Ik \u0026ndash; Wij\u003c/em\u003e gecureerd door Harald Szeemann in het museum van Elsene en was bedoeld om het linkse tijdschrift Pour van Isi Fiszman en Jean-Claude Garot van het faillissement te redden. Het werk is rechtstreeks gerelateerd aan de grotere installatie \u003cem\u003eFond IV/4,\u003c/em\u003e die werd getoond in \u003cem\u003eJe \u0026ndash; Nous = Ik \u0026ndash; Wij\u003c/em\u003e. Beuys maakte tussen 1954 en 1984 een reeks werken met de titel \u003cem\u003eFond\u003c/em\u003e die allemaal het opslaan en transporteren van energie thematiseren.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys a utilis\u0026eacute; cette \u0026oelig;uvre lors de sa performance \u003cem\u003eSalto Arte\u003c/em\u003e \u0026agrave; Bruxelles en 1975. L\u0026rsquo;\u0026eacute;v\u0026eacute;nement sous chapiteaux se d\u0026eacute;roulait parall\u0026egrave;lement \u0026agrave; l\u0026rsquo;exposition \u003cem\u003eJe-Nous = Ik-Wij\u003c/em\u003e de Harald Szeemann au Mus\u0026eacute;e d\u0026rsquo;Ixelles et avait pour objectif de sauver de la faillite le magazine d\u0026rsquo;extr\u0026ecirc;me gauche Pour d\u0026rsquo;Isi Fiszman et Jean-Claude Garot. Cette \u0026oelig;uvre est li\u0026eacute;e \u0026agrave; l\u0026rsquo;installation \u003cem\u003eFond IV/4\u003c/em\u003e, pr\u0026eacute;sent\u0026eacute;e lors de l\u0026rsquo;exposition \u003cem\u003eJe - Nous = Ik - Wij\u003c/em\u003e. Entre 1954 et 1984, Beuys a r\u0026eacute;alis\u0026eacute; une s\u0026eacute;rie d\u0026rsquo;\u0026oelig;uvres intitul\u0026eacute;es \u003cem\u003eFond\u003c/em\u003e, qui abordent toutes le th\u0026egrave;me du stockage et du transport de l\u0026rsquo;\u0026eacute;nergie.\u003c/p\u003e\r\n"}]},{"id":16874,"title":"Mit Schwefel überzogene Zinkkiste (tamponierte Ecke)","dimensions":"2 x (64 x 31 x 18 cm)","date_begin":"1970-01-01","material":"a: zinc plate, sulphur, gauze, stamped; b: unprocessed Zinkkiste, stamped","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEdition: 200. 200 planned, only 150 completed; a: signed and numbered; b: not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Edition Tangete, Heidelberg\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":15,"permalink":"mit-schwefel-uberzogene-zinkkiste-tamponierte-ecke","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDieses Multiple besteht aus zwei offenen Zinkkisten. Die eine Kiste, in deren Ecke sich ein kleines St\u0026uuml;cke Gaze befindet, ist mit Schwefel \u0026uuml;berzogen. Beuys verwendet Kisten als Metapher f\u0026uuml;r den menschlichen Kopf. Die verwendeten Materialien wie Zink, Schwefel und Gaze deuten sowohl auf rationale als auch auf spirituelle Eigenschaften in den metallenen \u0026bdquo;K\u0026ouml;pfen\u0026ldquo; hin. Zink ist ein hervorragend leitender Bestandteil, der den Strom von der Batterie zu einem anderen Ger\u0026auml;t leitet. Schwefel ist leicht entflammbar und dient als Sender von spiritueller Energie im Werk von Beuys. Die Gaze filtert die spirituellen Energien, die aus den materiellen Signalen stammen. Das Vorhandensein der Gaze in der Ecke ist ebenfalls wichtig: \u0026bdquo;Die Ecke\u0026ldquo;, so erkl\u0026auml;rte Beuys einmal, \u0026bdquo;symbolisiert die mechanistische Tendenz des menschlichen Geistes, den Eckpfeiler der gegenw\u0026auml;rtigen Gesellschaft, der auch in quadratischen R\u0026auml;umen, quadratischen H\u0026auml;usern und quadratischen St\u0026auml;dten zum Ausdruck komme\u0026hellip; In einem erweiterten Sinne stehe dies f\u0026uuml;r das erstarrte Koordinationssystem unserer Kultur, Wissenschaft und Lebensumst\u0026auml;nde.\u0026ldquo;1\u003c/p\u003e\r\n\r\n\u003col\u003e\r\n\t\u003cli\u003e\u003cspan style=\"font-size:11px;\"\u003eBeuys in Caroline Tisdall,\u0026nbsp;\u003cem\u003eJoseph Beuys\u003c/em\u003e, 72, 74.\u003c/span\u003e\r\n\r\n\t\u003chr /\u003e\u003c/li\u003e\r\n\u003c/ol\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eEdition: 200. 200 planned, only 150 completed; a: signed and numbered; b: not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Tangete, Heidelberg\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/000/037/507/large/mit_Schwefel___berzogene_Zinkkiste_%28tamponierte_Ecke%29.jpg?1507713525","poster_credits":"(c)SABAM België, 2017 - photo: Dirk Pauwels, S.M.A.K., Gent","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eTwo open zinc boxes make up this multiple. One of the boxes is coated in sulphur and a small piece of gauze is pressed in one of the corners. Open boxes are metaphoric stand-ins for the human head in the oeuvre of Beuys. By using materials such as zinc, sulphur and gauze, Beuys imparts both rational and spiritual qualities to the metal \u0026lsquo;heads\u0026rsquo;. Zinc is a highly conductive metal, allowing the flow of current between a battery and a connected device. Sulphur is highly flammable, acting as a transmitter of spiritual energy in the work of Beuys. The gauze filters the incoming spiritual energies from the material signals. The location of the gauze, in the corner of the box, is also significant: \u0026lsquo;The corner,\u0026rsquo; as Beuys once explained, \u0026lsquo;symbolises the most mechanistic tendency of the human mind, the cornerstone of our present society, as manifested in our square rooms, square buildings and square cities\u0026hellip;. Extending in meaning, it represents the mineralised co-ordinate system of our culture, science and living processes.\u0026rsquo;\u003csup\u003e1\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csmall\u003e\u003csup\u003e1\u003c/sup\u003e Beuys in Caroline Tisdall,\u0026nbsp;\u003cem\u003eJoseph Beuys\u003c/em\u003e, 72, 74.\u0026nbsp;\u003c/small\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003eEdition: 200. 200 planned, only 150 completed; a: signed and numbered; b: not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Tangete, Heidelberg\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDeze multiple bestaat uit twee zinken dozen zonder deksel. Een van de dozen is bedekt met zwavel en een klein stukje gaas dat in een van de hoeken is gedrukt. In het oeuvre van Beuys zijn open dozen een metafoor voor het menselijk hoofd. Door materialen zoals zink, zwavel en gaas te gebruiken, geeft Beuys zowel rationele als spirituele eigenschappen aan de metalen \u0026lsquo;hoofden\u0026rsquo;. Zink is een uitstekende geleider die de stroom van energie tussen een batterij en een verbonden apparaat mogelijk maakt. Zwavel is uiterst ontvlambaar en doet dienst als zender van spirituele energie in het werk van Beuys. Het gaas filtert de spirituele energie\u0026euml;n die binnenkomen uit van de materiele signalen. De aanwezigheid van het gaas in de hoek van de doos is ook belangrijk: \u0026lsquo;De hoek\u0026rsquo;, zoals Beuys ooit verkondigde, \u0026lsquo;symboliseert de meest mechanistische neiging van de menselijke geest, de hoeksteen van onze huidige maatschappij, wat tot uiting komt in onze vierkante kamers, vierkante gebouwen en vierkante steden\u0026hellip; Als we deze betekenis extrapoleren, vertegenwoordigt het een uitpuren van een systeem met co\u0026ouml;rdinaten in onze cultuur, wetenschap en levensprocessen.\u0026rsquo;\u003csup\u003e1\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csmall\u003e\u003csup\u003e1\u003c/sup\u003e Beuys in Caroline Tisdall,\u0026nbsp;\u003cem\u003eJoseph Beuys\u003c/em\u003e, 72, 74\u003c/small\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEditie: /200. 200 gepland, enkel 150 afgewerkt; a: gesigneerd en genummerd; b: niet gesigneerd, niet genummerd\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Tangete, Heidelberg\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eDeux bo\u0026icirc;tes en zinc ouvertes constituent ce multiple. L\u0026#39;une des bo\u0026icirc;tes a un rev\u0026ecirc;tement en soufre et un petit morceau de gaze est appliqu\u0026eacute; dans l\u0026#39;un des coins. Les bo\u0026icirc;tes ouvertes sont un\u003ca href=\"http://ensembles.org/items/mit-schwefel-uberzogene-zinkkiste-tamponierte-ecke/edit#!\" onclick=\"javascript: languageFieldsSwitchWith('nl', 'en,fr,de,es,ru,el,ca', '', '.description');\"\u003enl\u003c/a\u003ee repr\u0026eacute;sentation m\u0026eacute;taphorique de la t\u0026ecirc;te humaine dans l\u0026#39;oeuvre de Beuys. En utilisant des mat\u0026eacute;riaux tels que le zinc, le soufre et la gaze, Beuys conf\u0026egrave;re des qualit\u0026eacute;s rationnelles et spirituelles aux \u0026#39;t\u0026ecirc;tes\u0026#39; de m\u0026eacute;tal. Le zinc est un m\u0026eacute;tal extr\u0026ecirc;mement conducteur, qui permet au courant de passer entre une batterie et un appareil connect\u0026eacute;. Le soufre est extr\u0026ecirc;mement inflammable, agissant en tant que transmetteur d\u0026#39;\u0026eacute;nergie spirituelle dans l\u0026#39;oeuvre de Beuys. La gaze filtre les \u0026eacute;nergies spirituelles entrantes des signaux du mat\u0026eacute;riau. Le positionnement de la gaze, dans le coin de la bo\u0026icirc;te, a \u0026eacute;galement sa signification. Beuys a expliqu\u0026eacute; un jour que \u0026#39;Le coin symbolise la tendance la plus m\u0026eacute;caniste de l\u0026#39;esprit humain, la pierre angulaire de notre soci\u0026eacute;t\u0026eacute; actuelle, telle qu\u0026#39;elle se manifeste dans nos pi\u0026egrave;ces carr\u0026eacute;es, nos buildings carr\u0026eacute;s et nos villes carr\u0026eacute;es... Pour aller plus loin, il repr\u0026eacute;sente le syst\u0026egrave;me coordonn\u0026eacute; min\u0026eacute;ralis\u0026eacute; de notre culture, de notre science et de nos processus de vie.\u0026rsquo;\u003ca href=\"http://pinakothek-beuys-multiples.de/en/product/sulphur-covered-zinc-box-plugged-corner/#fn6-558\" title=\"Beuys in Caroline Tisdall, Joseph Beuys, 72, 74.\"\u003e\u003csup\u003e1\u003c/sup\u003e\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003col\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003eBeuys dans Caroline Tisdall,\u0026nbsp;\u003cem\u003eJoseph Beuys\u003c/em\u003e, 72, 74.\u0026nbsp;\u003c/li\u003e\r\n\u003c/ol\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp style=\"text-align: justify;\"\u003eEdition: 200. 200 planned, only 150 completed; a: signed and numbered; b: not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Tangete, Heidelberg\u003c/p\u003e\r\n"}]},{"id":16855,"title":"Berg in Slowenien","dimensions":"31.6 x 31.9 cm / 50 x 53 cm","date_begin":"1951-01-01","material":"pencil on handmade paper, edges regularly torn","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":"Museum Schloss Moyland, Sammlung van der Grinten Bedburg - Hau/Kreis Kleve","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e1951/1953 - 1954\u003c/p\u003e\r\n","date_end":"1954-01-01","reference":"","stream_count_app":13,"permalink":"berg-in-slowenien","description_ru":"","description_de":"\u003cp\u003eBeuys zeigt Bergregionen als eine M\u0026ouml;glichkeit auf, um Grenzenlosigkeit und Freiheit darzustellen.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u0026bdquo;Das Wichtigste f\u0026uuml;r mich \u0026hellip; [in der biblischen Geschichte der Bergpredigt] ist, dass ein entscheidender Hinweis auf die M\u0026ouml;glichkeit gegeben wird, die dem Menschen zur Verf\u0026uuml;gung steht\u0026hellip; Dieses Element der Er\u0026ouml;rterung auf dem Gipfel ist wichtig f\u0026uuml;r mich. Der Gipfel ist immer das H\u0026ouml;chste im Menschen, in seiner Innerlichkeit. Es ist der absolute H\u0026ouml;hepunkt, die Spitze.\u0026rdquo;\u003c/strong\u003e\u003c/em\u003e \u0026ndash; Joseph Beuys im Gespr\u0026auml;ch mit Friedhelm Mennekes, in Mennekes 1986, S. 32.\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/000/037/573/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_12.jpg?1507821055","poster_credits":"(c)SABAM België, 2017 - Courtesy Museum Schloss Moyland, Sammlung van der Grinten Bedburg - Hau/Kreis Kleve, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp\u003eBeuys depicted mountainous regions as a way to represent boundlessness and freedom.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003e\u0026ldquo;The most important thing for me \u0026hellip; [in the biblical story of the Sermon on the Mount] is that a crucial indication is given of the possibility open to man \u0026hellip; That element of discussion at the summit is important for me. The summit is always the highest in man, in his inwardness. It is the absolute peak, the top.\u0026rdquo; \u003c/em\u003e\u003c/strong\u003e\u0026ndash; Joseph Beuys in Conversation with Friedhelm Mennekes\u0026rsquo;, in Mennekes 1986, p.32.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eBeuys gebruikte berglandschappen om grenzeloosheid en vrijheid te verbeelden.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u0026ldquo;Het meest belangrijke voor mij \u0026hellip; [uit het Bijbelse verhaal van de verheerlijking op de berg] is dat er een onmisbare aanwijzing wordt gegeven voor de mogelijkheden voor de mens \u0026hellip; Dat deel van het gesprek op het zenit is belangrijk voor mij. De top is altijd het hoogste in de mens, binnenin. Het is de absolute piek, de top.\u0026rdquo;\u003c/strong\u003e\u003c/em\u003e \u0026ndash; Joseph Beuys in gesprek met Friedhelm Mennekes\u0026rsquo;, in Mennekes 1986, p.32.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eBeuys a d\u0026eacute;crit des r\u0026eacute;gions montagneuses comme un moyen de repr\u0026eacute;senter l\u0026#39;absence de fronti\u0026egrave;re et la libert\u0026eacute;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u003cstrong\u003e\u0026laquo;\u0026nbsp;Le plus important pour moi ... [dans l\u0026#39;histoire biblique du Sermon sur la Montagne] c\u0026#39;est qu\u0026#39;une indication essentielle est donn\u0026eacute;e sur la possibilit\u0026eacute; ouverte \u0026agrave; l\u0026#39;homme ... Cet \u0026eacute;l\u0026eacute;ment de discussion au sommet est important pour moi. Le sommet est toujours ce qu\u0026#39;il y a de plus haut chez l\u0026#39;homme, dans son int\u0026eacute;riorit\u0026eacute;. C\u0026#39;est l\u0026#39;apog\u0026eacute;e absolue, le summum.\u0026nbsp;\u0026raquo;\u003c/strong\u003e\u003c/em\u003e \u0026ndash; Joseph Beuys dans \u0026#39;Conversation with Friedhelm Mennekes\u0026rsquo;, dans Mennekes 1986, p.32.\u003c/p\u003e\r\n"}]},{"id":16871,"title":"Ich Versuche dich freizulassen-machen","dimensions":"21 x 16.8 x 6 cm","date_begin":"1969-01-01","material":"tape recorder","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1970-01-01","reference":"","stream_count_app":7,"permalink":"ich-versuche-dich-freizulassen-machen","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIch Versuche dich freizulassen-machen \u003c/em\u003eist eine Kassette-Aufnahme des gleichnamigen Fluxus Konzertes von Joseph Beuys und Henning Christiansen zur Er\u0026ouml;ffnung der Gruppenausstellung \u003cem\u003eBlockade 69\u003c/em\u003e, mit unter anderem auch Werke von Panamarenko und Bernd Lohaus, in der Galerie Ren\u0026eacute; Block in Berlin. W\u0026auml;hrend der Aktion haben Beuys und Christiansen einen Musikst\u0026auml;nder mit Sauerkraut umzogen um auf diese Weise eine \u0026ldquo;Sauerkrautpartitur\u0026rdquo; zu bekommen.\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/000/037/564/large/Untitled.jpg?1507799629","poster_credits":"(c)SABAM België, 2017 - Courtesy private collection, videostill: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIch versuche dich freizulassen (machen)\u003c/em\u003e (\u003cem\u003eI am trying to set (make) you fr\u003c/em\u003eee) is a recording on cassette of the eponymous Fluxus concert by Joseph Beuys and Henning Christiansen. The latter took place during the opening of the \u003cem\u003eBlockade \u0026#39;69\u0026#39; \u003c/em\u003egroup exhibition at Galerie Ren\u0026eacute; Block in Berlin, which included work by Panamarenko and Bernd Lohaus. During the action, Beuys and Christiansen covered a music stand with sauerkraut in order to arrive at a \u0026#39;sauerkraut score\u0026#39;.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIch Versuche dich freizulassen-machen\u003c/em\u003e is een opname op cassette van het gelijknamig Fluxus concert van Joseph Beuys en Henning Christiansen tijdens de opening van de groepstentoonstelling \u003cem\u003eBlockade \u0026lsquo;69\u0026rsquo;\u003c/em\u003e, met onder andere ook werk van Panamarenko en Bernd Lohaus, in Galerie Ren\u0026eacute; Block in Berlijn. Tijdens de actie bekleedden Beuys en Christiansen een muziekstandaard met zuurkool om op die manier een \u0026lsquo;zuurkoolpartituur\u0026rsquo; te bekomen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIch Versuche dich freizulassen-machen \u003c/em\u003eest un enregistrement sur cassette du concert Fluxus \u0026eacute;ponyme de Joseph Beuys et Henning Christiansen lors du vernissage de l\u0026rsquo;exposition de groupe \u003cem\u003eBlockade\u0026nbsp;\u0026lsquo;69\u0026rsquo;\u003c/em\u003e \u0026agrave; la Galerie Ren\u0026eacute; Block \u0026agrave; Berlin, avec des \u0026oelig;uvres, entre autres, de Panamarenko et de Bernd Lohaus. Pendant l\u0026rsquo;action, Beuys et Christiansen ont habill\u0026eacute; un standard musical de choucroute afin d\u0026rsquo;obtenir de la sorte une \u0026laquo;\u0026nbsp;partition choucroute\u0026nbsp;\u0026raquo;.\u003c/p\u003e\r\n"}]},{"id":16862,"title":"Eurasienstab","dimensions":"15 x 15 x 25 cm","date_begin":"1968-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"eurasienstab-ca8d05f3-d985-4b3b-bd37-214b37b643f8","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":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/000/037/514/large/JB_00002.jpg?1507741252","poster_credits":"(c)SABAM België, 2017 - photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eEURASIENSTAB. 82 min fluxorum organum\u003c/em\u003e was first performed in 1967, in Vienna. On February 9, 1968, Joseph Beuys\u0026#39; and musician Henning Christiansen\u0026#39;s iconic action took place at Wide White Space gallery in Antwerp, where it was also recorded on 16mm film. Beuys performs a ritual for symbolically reuniting the four winds of Eurasia, seeking to reconcile Asian spirituality with European rationality. To bring these seemingly opposing energies in balance he uses the Eurasienstab, a long staff made of copper. The staff, used by the priest, the shepherd and the shaman alike, is a recurring motif in Beuys\u0026rsquo; work, and occasionally with a walking stick as a surrogate.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eEURASIENSTAB. 82 min fluxorum organum\u003c/em\u003e werd voor het eerst opgevoerd in 1967 in Wenen. Op 9 februari 1968 vond de iconische actie van Joseph Beuys en muzikant Henning Christiansen plaats in de Wide White Space te Antwerpen, waar ze ook op 16mm-film werd opgenomen. Beuys voerde een ritueel op om de vier windrichtingen van Eurazi\u0026euml; symbolisch terug met elkaar te verbinden en Aziatische spiritualiteit te verzoenen met Europees realisme. Om deze tegengestelde energie\u0026euml;n terug in balans te brengen gebruikt hij de Eurasienstab, een lange staf uit koper. De staf, die zowel door de priester, de herder als de sjamaan wordt gebruikt, was een terugkerend motief in het werk van Beuys en kwam ook voor in de vorm van een wandelstok.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLa performance \u003cem\u003eEURASIENSTAB. 82 min fluxorum organum\u003c/em\u003e est pr\u0026eacute;sent\u0026eacute;e pour la premi\u0026egrave;re fois en 1967 \u0026agrave; Vienne. Le 9 f\u0026eacute;vrier 1968, l\u0026rsquo;action iconique de Joseph Beuys et du musicien Henning Christiansen se d\u0026eacute;roule \u0026agrave; la galerie anversoise Wide White Space, o\u0026ugrave; elle est \u0026eacute;galement film\u0026eacute;e en 16 mm. En enduisant les angles de la galerie de beurre, Beuys souhaite symboliquement relier les quatre directions du vent d\u0026rsquo;Eurasie ; relier la spiritualit\u0026eacute; asiatique et le r\u0026eacute;alisme europ\u0026eacute;en et r\u0026eacute;tablir l\u0026rsquo;\u0026eacute;quilibre entre \u0026eacute;nergies oppos\u0026eacute;es. Pour ce faire, il utilise l\u0026rsquo;Eurasienstab, une longue tige courb\u0026eacute;e en cuivre. Le b\u0026acirc;ton, qu\u0026rsquo;utilisent aussi bien le pr\u0026ecirc;tre, le berger que le chamane, est un \u0026eacute;l\u0026eacute;ment r\u0026eacute;current dans l\u0026rsquo;\u0026oelig;uvre de Beuys et revient aussi sous la forme d\u0026rsquo;une canne.\u003c/p\u003e\r\n"}]},{"id":16853,"title":"Batterie","dimensions":"27.5 x 11.3 x 6 cm","date_begin":"1963-01-01","material":"oil paint (brown cross) on corrugated cardboard, cord, leather","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Museum Schloss Moyland, Sammlung van der Grinten Bedburg - Hau/Kreis Kleve","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"batterie","description_ru":"","description_de":"\u003cp\u003eBatterien sind Methoden der Energiespeicherung. In seinen Werken betrachtet Beuys seine Skulpturen als Batterien f\u0026uuml;r pers\u0026ouml;nliche, kollektive und \u0026ouml;kologische Entwicklung.\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/575/medium_500/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_16.jpg?1526040084","cached_actor_names":"Joseph Beuys","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/000/037/575/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_16.jpg?1526040084","poster_credits":"(c)SABAM België, 2017 - Courtesy Museum Schloss Moyland, Sammlung van der Grinten Bedburg - Hau/Kreis Kleve, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp\u003eBatteries are ways of storing energy, in the case of Beuys\u0026rsquo; works he views his sculptures as batteries for personal, collective and ecological development.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eBatterijen zijn een manier om energie te bewaren, in het geval van Beuys\u0026rsquo; oeuvre kunnen zijn sculpturen gezien worden als batterijen voor persoonlijke, collectieve en ecologische ontwikkelingen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLes batteries sont des moyens de stocker de l\u0026#39;\u0026eacute;nergie. Dans le cas des oeuvres de Beuys, il consid\u0026egrave;re ses sculptures comme des batteries pour le d\u0026eacute;veloppement personnel, collectif et \u0026eacute;cologique.\u003c/p\u003e\r\n"}]},{"id":16860,"title":"Een vergelijking tussen twee maatschappelijke strukturen","dimensions":"40 x 33 cm","date_begin":"1976-01-01","material":"Print on plastic bag and documents","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"een-vergelijking-tussen-twee-maatschappelijke-strukturen","description_ru":"","description_de":"\u003cp\u003eEin Plastikbeutel mit Flugzetteln \u0026ndash; und in manchen F\u0026auml;llen mit einer Filzschicht \u0026ndash; war die Weise um die politischen Ideen der Organisation f\u0026uuml;r direkte Demokratie durch Volksabstimmung zu verbreiten. In den Diagrammen auf dem Beutel wird \u0026lsquo;echte\u0026rsquo;, direkte Demokratie in der Form von Volksabstimmungen gegen\u0026uuml;ber dem Parteistaat gestellt. Anl\u0026auml;sslich einer Ausstellung in der K\u0026ouml;niglichen Akademie f\u0026uuml;r Bildende K\u0026uuml;nste in Gent (de Koninklijke Academie voor Schone Kunsten in Gent) wurde eine niederl\u0026auml;ndischsprachige Version der Ausgabe ver\u0026ouml;ffentlicht.\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/000/037/320/large/Joseph_Beuys__Een_vergelijking_tussen_twee_maatschappelijke_strukturen__1976__courtesy_private_collection__%C2%A9_SABAM_%28Belgium%29__2017.jpg?1507194928","poster_credits":"(c)SABAM België, 2017 - Courtesy Private Collection, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp\u003eThe plastic bag, filled with pamphlets was a means to spread the Organisation f\u0026uuml;r direkte Demokratie durch Volksabstimmung (Organisation for Direct Democracy by Plebiscite) political ideas. According to the diagrams printed on the bag, real direct democracy in the form of referenda-based society sits in opposition to the majority party state. In 1977, a Dutch version of the edition was published on the occasion of an exhibition at the Royal Academy of Fine Arts in Ghent.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe plastic zak gevuld met pamfletten was een manier om de politieke idee\u0026euml;n van de Organisation f\u0026uuml;r direkte Demokratie durch Volksabstimmung (Organisatie voor directe democratie door volksraadpleging) te verspreiden. In de diagrammen op de zak wordt \u0026lsquo;echte\u0026rsquo;, directe democratie in de vorm van referenda tegenover de partijstaat geplaatst. In 1977 werd ter gelegenheid van een tentoonstelling in de Koninklijke Academie voor Schone Kunsten in Gent een Nederlandse versie van de editie uitgebracht.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe sac en plastique rempli de pamphlets \u0026eacute;tait une mani\u0026egrave;re de diffuser les id\u0026eacute;es politiques de l\u0026rsquo;Organisation f\u0026uuml;r direkte Demokratie durch Volksabstimmung [Organisation pour la d\u0026eacute;mocratie directe par consultation populaire]. Sur les diagrammes \u0026agrave; l\u0026rsquo;ext\u0026eacute;rieur, on peut voir la \u0026laquo; v\u0026eacute;ritable \u0026raquo; d\u0026eacute;mocratie directe sous forme de referendum plac\u0026eacute;e face \u0026agrave; la partitocratie. En 1977, \u0026agrave; l\u0026rsquo;occasion d\u0026rsquo;une exposition \u0026agrave; l\u0026rsquo;Acad\u0026eacute;mie des Beaux-Arts de Gand, une version n\u0026eacute;erlandaise de l\u0026rsquo;\u0026eacute;dition a \u0026eacute;t\u0026eacute; produite.\u003c/p\u003e\r\n"}]},{"id":16880,"title":"Schlitten","dimensions":"36 x 91 x 34 cm","date_begin":"1969-01-01","material":"wooden sled, felt, belts, flashlight, fat and rope","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Hall Collection, NY, USA","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEdition: 50 + 5 exhibition copies, numbered, not signed\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Galerie R\u0026eacute;ne Block, Berlin\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":13,"permalink":"schlitten","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDas Motiv des Schlittens durchzieht Beuys\u0026lsquo; gesamtes Werk. Er ist fasziniert von diesem primitiven Transportmittel. In diesem Sinne \u0026auml;u\u0026szlig;erte sich Beuys: \u0026bdquo;Die direkteste Art von Bewegung \u0026uuml;ber die Erde ist das Gleiten der eisernen Kufen von Schlitten\u0026hellip;\u0026ldquo;1\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDer Schlitten spielt auch eine wichtige Rolle in der Geschichte seiner eigenen Rettung durch Krimtartaren nach seinem Flugzeugabsturz im Zweiten Weltkrieg. Nach seinem Absturz h\u0026auml;tten ihn die Tartaren auf einem Schlitten abtransportiert, damit er sich von seinen Verletzungen erholen k\u0026ouml;nne.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eSchlitten\u003c/em\u003e zeigt eine Stablampe, einen Fettklumpen und eine Decke \u0026ndash; Gegenst\u0026auml;nde, die zur Orientierung, Ern\u0026auml;hrung und W\u0026auml;rmehaltung unter extremen Bedingungen benutzt werden k\u0026ouml;nnen.\u003c/p\u003e\r\n\r\n\u003col\u003e\r\n\t\u003cli style=\"text-align: justify;\"\u003e\u003cspan style=\"font-size:11px;\"\u003eCaroline Tisdall,\u0026nbsp;\u003cem\u003eJoseph Beuys\u003c/em\u003e\u0026nbsp;(London: Thames and Hudson, 1979), 190.\u003c/span\u003e\u003c/li\u003e\r\n\u003c/ol\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 50 + 5 exhibition copies, numbered, not signed\u003c/p\u003e\r\n\r\n\u003cp\u003eGalerie R\u0026eacute;ne Block, Berlin\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/000/037/476/large/BEUYSJO04.39.jpg?1507641169","poster_credits":"(c)SABAM België, 2017 - Courtesy Hall Art Foundation, NY, USA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe sled makes a frequent appearance in the oeuvre of Beuys. Fascinated by this early form of transportation, Beuys explained that \u0026lsquo;[t]he most direct kind of movement over the earth is the sliding of the iron runners of the sleds\u0026hellip;.\u0026rsquo;\u003csup\u003e1\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eThe sled also plays an important part in Beuys\u0026rsquo;s account of being rescued by Crimean Tatars following a plane crash in the Second World War. After his crash Tatars moved him on a sled, while he recovered from his injuries.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eSled\u003c/em\u003e contains a flashlight, a lump of fat and a blanket \u0026ndash; objects used for orientation, sustenance and warmth in extreme conditions.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csmall\u003e\u003csup\u003e1\u003c/sup\u003e Caroline Tisdall,\u0026nbsp;\u003cem\u003eJoseph Beuys\u003c/em\u003e\u0026nbsp;(London: Thames and Hudson, 1979), 190.\u003c/small\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 50 + 5 exhibition copies, numbered, not signed\u003c/p\u003e\r\n\r\n\u003cp\u003eGalerie R\u0026eacute;ne Block, Berlin\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe slee komt regelmatig voor in het oeuvre van Beuys. Hij is gefascineerd door dit primitief vervoersmiddel, zo zegt Beuys: \u0026lsquo;de meest directe manier van bewegen over de aarde is het glijden op de ijzers van een slee\u0026hellip;\u0026rsquo;\u003csup\u003e1\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eDe slee speelt ook een belangrijke rol in het verhaal dat Beuys vertelt over zijn redding door de Krimtataren na zijn vliegtuigcrash in de Tweede Wereldoorlog. Na zijn crash zou hij door de Tataren verplaatst zijn geweest op een slee, terwijl hij van zijn verwondingen herstelde.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eSchlitten\u003c/em\u003e toont een zaklamp, een klomp vet en een deken \u0026ndash; voorwerpen die gebruikt kunnen worden om te ori\u0026euml;nteren, als levensmiddel en voor warmte in extreme omstandigheden.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003csmall\u003e\u003csup\u003e1\u003c/sup\u003e Caroline Tisdall,\u0026nbsp;\u003cem\u003eJoseph Beuys\u003c/em\u003e\u0026nbsp;(London: Thames and Hudson, 1979), 190.\u003c/small\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 50 + 5 exhibition copies, numbered, not signed\u003c/p\u003e\r\n\r\n\u003cp\u003eGalerie R\u0026eacute;ne Block, Berlin\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLa luge appara\u0026icirc;t fr\u0026eacute;quemment dans l\u0026#39;oeuvre de Beuys. Fascin\u0026eacute; par cette forme pr\u0026eacute;coce de transport, Beuys a expliqu\u0026eacute; que \u0026lsquo;[l]e type de mouvement le plus direct sur terre est le glissement des patins de fer des luges\u0026hellip;.\u0026rsquo;\u003ca href=\"http://pinakothek-beuys-multiples.de/en/product/sled/#fn1-88\" title=\"Caroline Tisdall, Joseph Beuys (Londres : Thames and Hudson, 1979), 190.  Ailleurs dans sa pratique, la décision de Beuys d'attacher une plaque de fer à l'un de ses pieds pendant les performances How to explain paintings to a dead hare (1965) et Eurasian \"\u003e\u003csup\u003e1\u003c/sup\u003e\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eLa luge joue \u0026eacute;galement un r\u0026ocirc;le important dans le r\u0026eacute;cit par Beuys de son sauvetage par les Tartares de Crim\u0026eacute;e suite au crash de son avion pendant la Seconde Guerre Mondiale. Apr\u0026egrave;s son crash, les Tartares l\u0026#39;ont d\u0026eacute;plac\u0026eacute; sur une luge pendant qu\u0026#39;il se remettait de ses blessures.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eLuge\u003c/em\u003e contient une torche \u0026eacute;lectrique, un morceau de graisse et une couverture (des objets utilis\u0026eacute;s pour s\u0026#39;orienter, s\u0026#39;alimenter et se r\u0026eacute;chauffer dans des conditions extr\u0026ecirc;mes).\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003col\u003e\r\n\t\u003cli\u003e\u003cem\u003eCaroline Tisdall,\u0026nbsp;\u003c/em\u003e\u003cem\u003eJoseph Beuys\u003c/em\u003e\u003cem\u003e\u0026nbsp;(Londres : Thames and Hudson, 1979), 190. \u003c/em\u003e\r\n\r\n\t\u003chr /\u003e\r\n\t\u003cp\u003eEdition: 50 + 5 exhibition copies, numbered, not signed\u003c/p\u003e\r\n\t\u003c/li\u003e\r\n\u003c/ol\u003e\r\n\r\n\u003cp\u003eGalerie R\u0026eacute;ne Block, Berlin\u003c/p\u003e\r\n"}]},{"id":16863,"title":"Eine Partei für Tiere","dimensions":"67 x 37 x 3.7 cm","date_begin":"1969-01-01","material":"offset; stamped with handwritten text","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":"L.J. De Schutter","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"eine-partei-fur-tiere","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eIm Jahr 1967 gr\u0026uuml;ndete Beuys die deutsche Studentenpartei, und behauptete, dass \u0026bdquo;die deutsche \u0026nbsp;Studentenpartei ist die weltweit gr\u0026ouml;\u0026szlig;te Partei, jedoch sind die meisten ihrer Mitglieder Tiere\u0026ldquo;. Neben der mit Schreibmaschine geschriebenen Liste von W\u0026ouml;rtern gibt es eine Reihe von handgeschriebenen Namen, vermutlich von Mitgliedern der Partei, darunter Beuys\u0026rsquo; Name. Beuys war sp\u0026auml;ter Mitbegr\u0026uuml;nder der Gr\u0026uuml;nen in Deutschland.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: ca. 20, not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eArt Intermedia, K\u0026ouml;ln\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/000/037/481/large/ParteifurTiere.jpg?1507645134","poster_credits":"(c)SABAM België, 2017 - Courtesy L.J. De Schutter, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eIn 1967 Beuys formed the German Student Party, claiming \u0026lsquo;The German Student Party is the world\u0026rsquo;s largest party, but most of its members are animals\u0026rsquo;. Besides the typed list of words there are a number of handwritten names, presumably members of the party, including Beuys\u0026rsquo; name. Beuys later went on to co-found the Green Party in Germany.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: ca. 20, not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eArt Intermedia, K\u0026ouml;ln\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eIn 1967 richt Beuys de Duitse studentenpartij op. Hij meent \u0026lsquo;De Duitse studentenpartij is de grootste partij ter wereld, maar de meeste van haar leden zijn dieren\u0026rsquo;. Naast een getypte lijst woorden staan er enkele handgeschreven namen, waarschijnlijk leden van de partij. Ook de naam van Beuys komt hierbij voor. Beuys is later betrokken bij de oprichting van de Groene partij in Duitsland.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: ca. 20, not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eArt Intermedia, K\u0026ouml;ln\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eEn 1967, Beuys a form\u0026eacute; le Partie \u0026eacute;tudiant allemand, clamant que \u0026lsquo;Le Parti \u0026eacute;tudiant allemand est le plus grand parti au monde mais la plupart de ses membres sont des animaux\u0026rsquo;. Outre la liste de mots tap\u0026eacute;e \u0026agrave; la machine, un certain nombre de noms sont \u0026eacute;crits \u0026agrave; la main, probablement des membres du parti, y compris le nom de Beuys. Plus tard, Beuys a continu\u0026eacute; pour co-fonder le Parti Ecologique en Allemagne.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: ca. 20, not signed, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eArt Intermedia, K\u0026ouml;ln\u003c/p\u003e\r\n"}]},{"id":16852,"title":"Aus Rheinische Bienenzeitung","dimensions":"23.5 x 33 cm","date_begin":"1975-01-01","material":"offset; ink on cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"multiple","publishing_process_id":1,"annotation":"\u003cp\u003ePublisher: Verlag Constantin Post, K\u0026ouml;ln\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":13,"permalink":"aus-rheinische-bienenzeitung","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDiese Arbeit erschien in einer Sonderausgabe der \u0026bdquo;Rheinischen Bienenzeitung\u0026ldquo; (Dezember 1975). Das Thema der Ausgabe lautete \u0026bdquo;Die Biene in der Kunst\u0026ldquo; und enthielt Beitr\u0026auml;ge von verschiedenen K\u0026uuml;nstlern, darunter Joseph Beuys.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 34\u003c/p\u003e\r\n\r\n\u003cp\u003eVerlag Constantin Post, K\u0026ouml;ln\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/000/037/309/large/jpeg_beuys.jpg?1507127847","poster_credits":"(c)SABAM België, 2017 - Courtesy Private Collection","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThis spread appeared in a special edition of \u0026quot;Rheinische Bienenzeitung\u0026quot; (December 1975). The theme of the issue was \u0026ldquo;The Bee in Art\u0026rdquo; and it contained contributions from several artists, including Joseph Beuys.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 34\u003c/p\u003e\r\n\r\n\u003cp\u003eVerlag Constantin Post, K\u0026ouml;ln\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDeze pagina werd getoond in een speciale uitgave van \u0026quot;Rheinische Bienenzeitung\u0026quot; uit december 1975. Het thema van het nummer was \u0026ldquo;De bij in de kunst\u0026rdquo; en er waren meerdere bijdragen door kunstenaars, waaronder Joseph Beuys.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 34\u003c/p\u003e\r\n\r\n\u003cp\u003eVerlag Constantin Post, K\u0026ouml;ln\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eCette double page a paru dans une \u0026eacute;dition sp\u0026eacute;ciale de \u0026laquo;\u0026nbsp;Rheinische Bienenzeitung\u0026nbsp;\u0026raquo; (d\u0026eacute;cembre 1975). Le th\u0026egrave;me de la publication \u0026eacute;tait \u0026laquo;\u0026nbsp;L\u0026#39;Abeille dans l\u0026#39;Art\u0026nbsp;\u0026raquo; et elle contenait des contributions de plusieurs artistes, y compris Joseph Beuys.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 34\u003c/p\u003e\r\n\r\n\u003cp\u003eVerlag Constantin Post, K\u0026ouml;ln\u003c/p\u003e\r\n"}]},{"id":16854,"title":"Batterien","dimensions":"65 x 18.2 cm / 70 x 50.6 cm","date_begin":"1959-01-01","material":"pencil and tempera pain on cardboard, laid on butter paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Museum Schloss Moyland, Sammlung van der Grinten Bedburg - Hau/Kreis Kleve","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"batterien","description_ru":"","description_de":"\u003cp\u003eBatterien sind Methoden der Energiespeicherung. In seinen Werken betrachtet Beuys seine Skulpturen als Batterien f\u0026uuml;r pers\u0026ouml;nliche, kollektive und \u0026ouml;kologische Entwicklung.\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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/574/medium_500/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_15.jpg?1526040033","cached_actor_names":"Joseph Beuys","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/000/037/574/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_15.jpg?1526040033","poster_credits":"(c)SABAM België, 2017 - Courtesy Museum Schloss Moyland, Sammlung van der Grinten Bedburg - Hau/Kreis Kleve, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp\u003eBatteries are ways of storing energy, in the case of Beuys\u0026rsquo; works he views his sculptures as batteries for personal, collective and ecological development.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eBatterijen zijn een manier om energie te bewaren, in het geval van Beuys\u0026rsquo; oeuvre kunnen zijn sculpturen gezien worden als batterijen voor persoonlijke, collectieve en ecologische ontwikkelingen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLes batteries sont des moyens de stocker de l\u0026#39;\u0026eacute;nergie. Dans le cas des oeuvres de Beuys, il consid\u0026egrave;re ses sculptures comme des batteries pour le d\u0026eacute;veloppement personnel, collectif et \u0026eacute;cologique.\u003c/p\u003e\r\n"}]},{"id":16857,"title":"Boter en bijenwas Grondstofmateriaal 4/bis","dimensions":"190 x 153.5 x 73.5 cm","date_begin":"1975-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection S.M.A.K., Stedelijk Museum voor Actuele Kunst, Ghent","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1986-01-01","reference":"","stream_count_app":13,"permalink":"boter-en-bijenwas-grondstofmateriaal-4-bis","description_ru":"","description_de":"\u003cp\u003eJoseph Beuys verwendete oft unkonventionelle Materialien f\u0026uuml;r seine Arbeit. So verweist Fett auf die mythische Rettung von Beuys durch die Tataren. Bienenwachs steht sowohl f\u0026uuml;r Spiritualit\u0026auml;t und politische Harmonie.\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/000/037/509/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_10_2.jpg?1507812137","poster_credits":"(c)SABAM België, 2017 - Courtesy S.M.A.K., photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys often used unconventional materials for his work. For example fat refers to Beuys\u0026rsquo; mythical rescue by the Tatars. Beeswax stands both for spirituality and political harmony.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys maakte voor zijn werk vaak gebruik van onconventionele materialen. Zo refereert vet aan de mythische redding van Beuys door de Krimtataren. Bijenwas staat zowel voor spiritualiteit als politieke harmonie.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys a souvent utilis\u0026eacute; des mat\u0026eacute;riaux non conventionnels pour son oeuvre. Par exemple, la graisse fait r\u0026eacute;f\u0026eacute;rence au mythique sauvetage de Beuys par les Tatars. La cire d\u0026#39;abeille repr\u0026eacute;sente \u0026agrave; la fois la spiritualit\u0026eacute; et l\u0026#39;harmonie politique.\u003c/p\u003e\r\n"}]},{"id":16882,"title":"Une comparaison entre deux structures sociales","dimensions":"41 x 29 cm","date_begin":"1975-01-01","material":"plastic bag, documents","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"une-comparaison-entre-deux-structures-sociales","description_ru":"","description_de":"\u003cp\u003eEin Plastikbeutel mit Flugzetteln \u0026ndash; und in manchen F\u0026auml;llen mit einer Filzschicht \u0026ndash; war die Weise um die politischen Ideen der Organisation f\u0026uuml;r direkte Demokratie durch Volksabstimmung zu verbreiten. In den Diagrammen auf dem Beutel wird \u0026lsquo;echte\u0026rsquo;, direkte Demokratie in der Form von Volksabstimmungen gegen\u0026uuml;ber dem Parteistaat gestellt.\u0026nbsp;1975 wurde eine franz\u0026ouml;sischsprachige Version gemacht anl\u0026auml;sslich der Ausstellung Je \u0026ndash; Nous = Ik \u0026ndash; Wij.\u003cbr /\u003e\r\n\u0026nbsp;\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/000/037/487/large/beuys-joseph-1921-1986-germany-le-sachet-comparaison-de-deux-4795494.jpg?1507646555","poster_credits":"(c)SABAM België, 2017 - Courtesy private collection, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp\u003eThe plastic bag, filled with pamphlets was a means to spread the Organisation f\u0026uuml;r direkte Demokratie durch Volksabstimmung (Organisation for Direct Democracy by Plebiscite) political ideas. According to the diagrams printed on the bag, real direct democracy in the form of referenda-based society sits in opposition to the majority party state. In 1975, a French version was also published for the \u003cem\u003eJe \u0026ndash; Nous = Ik \u0026ndash; Wij\u003c/em\u003e exhibition in Brussels.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe plastic zak gevuld met pamfletten was een manier om de politieke idee\u0026euml;n van de Organisation f\u0026uuml;r direkte Demokratie durch Volksabstimmung (Organisatie voor directe democratie door volksraadpleging) te verspreiden. In de diagrammen op de zak wordt \u0026lsquo;echte\u0026rsquo;, directe democratie in de vorm van referenda tegenover de partijstaat geplaatst. In 1975 werd een Franstalige versie gemaakt in het kader van de tentoonstelling \u003cem\u003eJe \u0026ndash; Nous = Ik \u0026ndash; Wij\u003c/em\u003e.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe sac en plastique rempli de pamphlets \u0026eacute;tait une mani\u0026egrave;re de diffuser les id\u0026eacute;es politiques de l\u0026rsquo;Organisation f\u0026uuml;r direkte Demokratie durch Volksabstimmung [Organisation pour la d\u0026eacute;mocratie directe par consultation populaire]. Sur les diagrammes \u0026agrave; l\u0026rsquo;ext\u0026eacute;rieur, on peut voir la \u0026laquo; v\u0026eacute;ritable \u0026raquo; d\u0026eacute;mocratie directe sous forme de referendum plac\u0026eacute;e face \u0026agrave; la partitocratie. En 1975, une version en fran\u0026ccedil;ais a \u0026eacute;t\u0026eacute; r\u0026eacute;alis\u0026eacute;e dans le cadre de l\u0026rsquo;exposition \u003cem\u003eJe-Nous = Ik-Wij\u003c/em\u003e.\u003c/p\u003e\r\n"}]},{"id":16901,"title":"A comparison of two types of society","dimensions":"","date_begin":"1972-01-01","material":"folded poster","short_description":"\u003cp\u003eFolded poster in \u003cem\u003eSeven Exhibitions \u003c/em\u003eexhibition catalogue, Tate Gallery, London\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"CRAP!, Collection for the Research of Artists' Publications","cached_tag_list":"poster","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"a-comparison-of-two-types-of-society","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":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/000/037/426/large/10.jpg?1507627147","poster_credits":"(c)SABAM België, 2017 - Courtesy CRAP!, photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16942,"title":"Sonne statt Reagan","dimensions":"00:03:03","date_begin":"1982-01-01","material":"music video","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":"Center for Art and Media Karlsruhe, Laboratory for Antique Video Systems","cached_tag_list":"music video","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"sonne-statt-reagan","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys hat die Nummer \u003cem\u003eSonne statt Reagan \u003c/em\u003egeschrieben als Protest gegen\u0026uuml;ber der ausl\u0026auml;ndischen Politik des amerikanischen Pr\u0026auml;sidenten Ronald Reagan. Der Titel auf Deutsch ist \u0026ldquo;Sonne statt Regen\u0026rdquo;. Die Nummer wurde auf eine Schallplatte aufgenommen. In verschiedenen Demonstrationen hat Beuys die Nummer live gesungen und er hat auch im beliebten Fernsehprogramm Bananas im ARD zusammen mit der Band Die Desserteure (De deserteurs) aufgetreten. Beuys betrachtete \u003cem\u003eSonne statt Reagan \u003c/em\u003enicht als Pop-Song sondern als Kunstwerk und eine Weise um seine Ideen bei einem m\u0026ouml;glichst gro\u0026szlig;en Publikum zu verbreiten.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cu\u003eLyrics:\u003c/u\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eAus dem Land, das sich selbst zerst\u0026ouml;rt\u003c/p\u003e\r\n\r\n\u003cp\u003eund uns den \u0026#39;way of life\u0026#39; Diktiert\u003c/p\u003e\r\n\r\n\u003cp\u003eda kommt Reagan und bringt Waffen und Tod\u003c/p\u003e\r\n\r\n\u003cp\u003eund h\u0026ouml;rt er Frieden, sieht er rot.\u003c/p\u003e\r\n\r\n\u003cp\u003eEr sagt als Pr\u0026auml;sident von USA\u003c/p\u003e\r\n\r\n\u003cp\u003eAtomkrieg ? - Ja bitte dort und da\u003c/p\u003e\r\n\r\n\u003cp\u003eob Polen, Mittler Osten, Nicaragua\u003c/p\u003e\r\n\r\n\u003cp\u003eer will den Endsieg, das ist doch klar.\u003c/p\u003e\r\n\r\n\u003cp\u003eDoch wir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost\u003c/p\u003e\r\n\r\n\u003cp\u003eauf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost\u003c/p\u003e\r\n\r\n\u003cp\u003eauf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eEr will die S\u0026auml;cke im Osten reizen\u003c/p\u003e\r\n\r\n\u003cp\u003edie auch nicht mit Atomen geizen\u003c/p\u003e\r\n\r\n\u003cp\u003edoch dein Krieg um hirnverbrannte Ziele\u003c/p\u003e\r\n\r\n\u003cp\u003eder l\u0026auml;uft nicht Reagan - wir sind viele !\u003c/p\u003e\r\n\r\n\u003cp\u003eHau ab mit deinen Nuklearstrategen\u003c/p\u003e\r\n\r\n\u003cp\u003edeinen Russenhassern, deinem Strahlenregen\u003c/p\u003e\r\n\r\n\u003cp\u003eMensch Knitterface, der Film ist aus\u003c/p\u003e\r\n\r\n\u003cp\u003enimm\u0026#39; die Raketen mit nach Haus !\u003c/p\u003e\r\n\r\n\u003cp\u003eDenn wir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb Ost, ob West\u003c/p\u003e\r\n\r\n\u003cp\u003eKalten Kriegern die Pest !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb Ost, ob West\u003c/p\u003e\r\n\r\n\u003cp\u003eKalten Kriegern die Pest !\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;Dieser Reagan kommt als Mann der R\u0026uuml;stungsindustrie\u003c/p\u003e\r\n\r\n\u003cp\u003ebut the peoples of the States don\u0026#39;t want it - nie !\u003c/p\u003e\r\n\r\n\u003cp\u003eund den wahren Frieden wird\u0026#39;s erst geben\u003c/p\u003e\r\n\r\n\u003cp\u003ewenn alle Menschen ohne Waffen leben.\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost\u003c/p\u003e\r\n\r\n\u003cp\u003eauf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eSonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb Ost, ob West\u003c/p\u003e\r\n\r\n\u003cp\u003eKalten Kriegern die Pest !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost auf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\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/000/037/348/large/Capture.PNG?1507792962","poster_credits":"(c)SABAM België, 2017 - videostill: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys wrote \u003cem\u003eSonne statt Reagan\u003c/em\u003e as a protest song against the foreign policy of US President Ronald Reagan. In German, the song\u0026#39;s title when sung sounds like \u0026#39;Sun (Sonne) instead of rain (Regen)\u0026#39; but with \u0026lsquo;regen\u0026rsquo; pronounced phonetically the same as \u0026lsquo;Reagan\u0026rsquo;. The song was released as a record and Beuys even sang it live at several demonstrations. He also performed it on the popular TV show \u0026#39;Bananas\u0026#39; on German television channel ARD, together with the band Die Desserteure (The Deserters). Beuys didn\u0026#39;t consider \u003cem\u003eSonne statt Reagan\u003c/em\u003e to be a mere pop song, but a work of art and a way to reach the widest possible audience with his ideas.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003e\u003cstrong\u003eLyrics:\u003c/strong\u003e\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eAus dem Land, das sich selbst zerst\u0026ouml;rt\u003c/p\u003e\r\n\r\n\u003cp\u003eund uns den \u0026#39;way of life\u0026#39; Diktiert\u003c/p\u003e\r\n\r\n\u003cp\u003eda kommt Reagan und bringt Waffen und Tod\u003c/p\u003e\r\n\r\n\u003cp\u003eund h\u0026ouml;rt er Frieden, sieht er rot.\u003c/p\u003e\r\n\r\n\u003cp\u003eEr sagt als Pr\u0026auml;sident von USA\u003c/p\u003e\r\n\r\n\u003cp\u003eAtomkrieg ? - Ja bitte dort und da\u003c/p\u003e\r\n\r\n\u003cp\u003eob Polen, Mittler Osten, Nicaragua\u003c/p\u003e\r\n\r\n\u003cp\u003eer will den Endsieg, das ist doch klar.\u003c/p\u003e\r\n\r\n\u003cp\u003eDoch wir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost\u003c/p\u003e\r\n\r\n\u003cp\u003eauf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost\u003c/p\u003e\r\n\r\n\u003cp\u003eauf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eEr will die S\u0026auml;cke im Osten reizen\u003c/p\u003e\r\n\r\n\u003cp\u003edie auch nicht mit Atomen geizen\u003c/p\u003e\r\n\r\n\u003cp\u003edoch dein Krieg um hirnverbrannte Ziele\u003c/p\u003e\r\n\r\n\u003cp\u003eder l\u0026auml;uft nicht Reagan - wir sind viele !\u003c/p\u003e\r\n\r\n\u003cp\u003eHau ab mit deinen Nuklearstrategen\u003c/p\u003e\r\n\r\n\u003cp\u003edeinen Russenhassern, deinem Strahlenregen\u003c/p\u003e\r\n\r\n\u003cp\u003eMensch Knitterface, der Film ist aus\u003c/p\u003e\r\n\r\n\u003cp\u003enimm\u0026#39; die Raketen mit nach Haus !\u003c/p\u003e\r\n\r\n\u003cp\u003eDenn wir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb Ost, ob West\u003c/p\u003e\r\n\r\n\u003cp\u003eKalten Kriegern die Pest !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb Ost, ob West\u003c/p\u003e\r\n\r\n\u003cp\u003eKalten Kriegern die Pest !\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;Dieser Reagan kommt als Mann der R\u0026uuml;stungsindustrie\u003c/p\u003e\r\n\r\n\u003cp\u003ebut the peoples of the States don\u0026#39;t want it - nie !\u003c/p\u003e\r\n\r\n\u003cp\u003eund den wahren Frieden wird\u0026#39;s erst geben\u003c/p\u003e\r\n\r\n\u003cp\u003ewenn alle Menschen ohne Waffen leben.\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost\u003c/p\u003e\r\n\r\n\u003cp\u003eauf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eSonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb Ost, ob West\u003c/p\u003e\r\n\r\n\u003cp\u003eKalten Kriegern die Pest !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost auf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys schreef het nummer \u003cem\u003eSonne statt Reagan \u003c/em\u003eals protest tegen de buitenlandse politiek van de Amerikaanse president Ronald Reagan. De titel klinkt in het Duits als \u0026ldquo;Zon in plaats van regen.\u0026rdquo; Het nummer werd op plaat uitgebracht. Beuys bracht het nummer live tijdens verschillende demonstraties en hij trad ermee op in het populaire televisieprogramma Bananas op de ARD samen met de band Die Desserteure (De deserteurs). Beuys beschouwde \u003cem\u003eSonne statt Reagan \u003c/em\u003eniet als een popnummer, maar als een kunstwerk en als een manier om met zijn idee\u0026euml;n een zo groot mogelijk publiek te bereiken.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cu\u003e\u003cstrong\u003eSongtekst:\u003c/strong\u003e\u003c/u\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eAus dem Land, das sich selbst zerst\u0026ouml;rt\u003c/p\u003e\r\n\r\n\u003cp\u003eund uns den \u0026#39;way of life\u0026#39; Diktiert\u003c/p\u003e\r\n\r\n\u003cp\u003eda kommt Reagan und bringt Waffen und Tod\u003c/p\u003e\r\n\r\n\u003cp\u003eund h\u0026ouml;rt er Frieden, sieht er rot.\u003c/p\u003e\r\n\r\n\u003cp\u003eEr sagt als Pr\u0026auml;sident von USA\u003c/p\u003e\r\n\r\n\u003cp\u003eAtomkrieg ? - Ja bitte dort und da\u003c/p\u003e\r\n\r\n\u003cp\u003eob Polen, Mittler Osten, Nicaragua\u003c/p\u003e\r\n\r\n\u003cp\u003eer will den Endsieg, das ist doch klar.\u003c/p\u003e\r\n\r\n\u003cp\u003eDoch wir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost\u003c/p\u003e\r\n\r\n\u003cp\u003eauf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost\u003c/p\u003e\r\n\r\n\u003cp\u003eauf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eEr will die S\u0026auml;cke im Osten reizen\u003c/p\u003e\r\n\r\n\u003cp\u003edie auch nicht mit Atomen geizen\u003c/p\u003e\r\n\r\n\u003cp\u003edoch dein Krieg um hirnverbrannte Ziele\u003c/p\u003e\r\n\r\n\u003cp\u003eder l\u0026auml;uft nicht Reagan - wir sind viele !\u003c/p\u003e\r\n\r\n\u003cp\u003eHau ab mit deinen Nuklearstrategen\u003c/p\u003e\r\n\r\n\u003cp\u003edeinen Russenhassern, deinem Strahlenregen\u003c/p\u003e\r\n\r\n\u003cp\u003eMensch Knitterface, der Film ist aus\u003c/p\u003e\r\n\r\n\u003cp\u003enimm\u0026#39; die Raketen mit nach Haus !\u003c/p\u003e\r\n\r\n\u003cp\u003eDenn wir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb Ost, ob West\u003c/p\u003e\r\n\r\n\u003cp\u003eKalten Kriegern die Pest !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb Ost, ob West\u003c/p\u003e\r\n\r\n\u003cp\u003eKalten Kriegern die Pest !\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;Dieser Reagan kommt als Mann der R\u0026uuml;stungsindustrie\u003c/p\u003e\r\n\r\n\u003cp\u003ebut the peoples of the States don\u0026#39;t want it - nie !\u003c/p\u003e\r\n\r\n\u003cp\u003eund den wahren Frieden wird\u0026#39;s erst geben\u003c/p\u003e\r\n\r\n\u003cp\u003ewenn alle Menschen ohne Waffen leben.\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost\u003c/p\u003e\r\n\r\n\u003cp\u003eauf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eSonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb Ost, ob West\u003c/p\u003e\r\n\r\n\u003cp\u003eKalten Kriegern die Pest !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost auf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys a \u0026eacute;crit le morceau \u003cem\u003eSonne statt Reagan\u003c/em\u003e en protestation contre la politique \u0026eacute;trang\u0026egrave;re du pr\u0026eacute;sident des \u0026Eacute;tats-Unis Ronald Reagan. Prononc\u0026eacute; en allemand, on entend dire \u0026laquo; du soleil au lieu de la pluie \u0026raquo;, l\u0026agrave; o\u0026ugrave; cela veut litt\u0026eacute;ralement dire du soleil au lieu de Reagan. Le morceau est sorti sur disque et Beuys l\u0026rsquo;a interpr\u0026eacute;t\u0026eacute; en public lors de plusieurs manifestations et dans l\u0026rsquo;\u0026eacute;mission t\u0026eacute;l\u0026eacute;vis\u0026eacute;e populaire Bananas sur la cha\u0026icirc;ne allemande ARD, accompagn\u0026eacute; par le groupe Die Desserteure. Beuys ne consid\u0026eacute;rait pas \u003cem\u003eSonne statt Reagan\u003c/em\u003e comme un morceau de musique pop, mais comme une \u0026oelig;uvre d\u0026rsquo;art et une mani\u0026egrave;re d\u0026rsquo;atteindre un public aussi large que possible avec ses id\u0026eacute;es.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cu\u003eParoles:\u003c/u\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eAus dem Land, das sich selbst zerst\u0026ouml;rt\u003c/p\u003e\r\n\r\n\u003cp\u003eund uns den \u0026#39;way of life\u0026#39; Diktiert\u003c/p\u003e\r\n\r\n\u003cp\u003eda kommt Reagan und bringt Waffen und Tod\u003c/p\u003e\r\n\r\n\u003cp\u003eund h\u0026ouml;rt er Frieden, sieht er rot.\u003c/p\u003e\r\n\r\n\u003cp\u003eEr sagt als Pr\u0026auml;sident von USA\u003c/p\u003e\r\n\r\n\u003cp\u003eAtomkrieg ? - Ja bitte dort und da\u003c/p\u003e\r\n\r\n\u003cp\u003eob Polen, Mittler Osten, Nicaragua\u003c/p\u003e\r\n\r\n\u003cp\u003eer will den Endsieg, das ist doch klar.\u003c/p\u003e\r\n\r\n\u003cp\u003eDoch wir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost\u003c/p\u003e\r\n\r\n\u003cp\u003eauf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost\u003c/p\u003e\r\n\r\n\u003cp\u003eauf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eEr will die S\u0026auml;cke im Osten reizen\u003c/p\u003e\r\n\r\n\u003cp\u003edie auch nicht mit Atomen geizen\u003c/p\u003e\r\n\r\n\u003cp\u003edoch dein Krieg um hirnverbrannte Ziele\u003c/p\u003e\r\n\r\n\u003cp\u003eder l\u0026auml;uft nicht Reagan - wir sind viele !\u003c/p\u003e\r\n\r\n\u003cp\u003eHau ab mit deinen Nuklearstrategen\u003c/p\u003e\r\n\r\n\u003cp\u003edeinen Russenhassern, deinem Strahlenregen\u003c/p\u003e\r\n\r\n\u003cp\u003eMensch Knitterface, der Film ist aus\u003c/p\u003e\r\n\r\n\u003cp\u003enimm\u0026#39; die Raketen mit nach Haus !\u003c/p\u003e\r\n\r\n\u003cp\u003eDenn wir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb Ost, ob West\u003c/p\u003e\r\n\r\n\u003cp\u003eKalten Kriegern die Pest !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb Ost, ob West\u003c/p\u003e\r\n\r\n\u003cp\u003eKalten Kriegern die Pest !\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;Dieser Reagan kommt als Mann der R\u0026uuml;stungsindustrie\u003c/p\u003e\r\n\r\n\u003cp\u003ebut the peoples of the States don\u0026#39;t want it - nie !\u003c/p\u003e\r\n\r\n\u003cp\u003eund den wahren Frieden wird\u0026#39;s erst geben\u003c/p\u003e\r\n\r\n\u003cp\u003ewenn alle Menschen ohne Waffen leben.\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost\u003c/p\u003e\r\n\r\n\u003cp\u003eauf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eSonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb Ost, ob West\u003c/p\u003e\r\n\r\n\u003cp\u003eKalten Kriegern die Pest !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n\r\n\u003cp\u003eohne R\u0026uuml;stung leben !\u003c/p\u003e\r\n\r\n\u003cp\u003eOb West, ob Ost auf Raketen mu\u0026szlig; Rost !\u003c/p\u003e\r\n\r\n\u003cp\u003eWir wollen: Sonne statt Reagan\u003c/p\u003e\r\n"}]},{"id":16891,"title":"Verlassener Druidentempel","dimensions":"64.2 x 93.5 cm","date_begin":"1962-01-01","material":"oil on plywood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Museum Schloss Moyland, Sammlung van der Grinten Bedburg - Hau/Kreis Kleve","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"verlassener-druidentempel","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":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/000/037/549/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_19.jpg?1507818981","poster_credits":"(c)SABAM België, 2017 - Courtesy Museum Schloss Moyland, Sammlung van der Grinten Bedburg - Hau/Kreis Kleve, photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16935,"title":"Demokratie ist lustig","dimensions":"","date_begin":"1973-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003ePostcard with handwritten message by Beuys\u003c/p\u003e\r\n\r\n\u003cp\u003eUnlimited, not signed; also signed\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Edition Staeck, Heidelberg\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":9,"permalink":"demokratie-ist-lustig","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":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/000/037/524/large/p362770s.png?1507793686","poster_credits":"(c)SABAM België, 2017 - Courtesy private collection, photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16947,"title":"Aufruf zur Alternative / A3W FIU","dimensions":"","date_begin":"1980-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"CRAP!, Collection for the Research of Artists' Publications","cached_tag_list":"folder","publishing_process_id":1,"annotation":"\u003cp\u003eAchberger Verlag, Achberg\u003c/p\u003e\r\n\r\n\u003cp\u003eKartonmappe m. Brosch\u0026uuml;ren u. Faltbl\u0026auml;ttern, Mappe m. leichten Gebrauchsspuren, innen sehr guter Zustand, INHALT der Mappe: 1 Faltblatt \u0026#39;Aktion dritter Weg\u0026#39; (mit Adressenliste der beteiligten Unternehmen, sowie Beitrittserkl\u0026auml;rung und Vordruck f\u0026uuml;r Mitgliederausweis) / 1 Faltblatt des Unternehmerverbandes / 1 Broschur \u0026#39;Aufruf zur Initiative\u0026#39; von Joseph Beuys (15 S.) / 1 Broschur \u0026#39;Die Aktion dritter Weg\u0026#39; 17 S.) / 1 Broschur \u0026#39;Statuten der Aktion dritter Weg\u0026#39; (13 S.) / 1 Broschur \u0026#39;Gr\u0026uuml;nes Grundlagenprogramm - Entwurf A3W-FIU\u0026#39; (15 S.) -- mit Stempel \u0026#39;Freie Internationale Hochschule f\u0026uuml;r Kreativit\u0026auml;t und Interdisziplin\u0026auml;re Forschung e.V., D\u0026uuml;sseldorf\u0026#39; auf der Mappen-Klappe und \u0026#39;Baum-Stempel\u0026#39; am Deckel 250 gr. 0.\u0026nbsp;Artikel-Nr.: 52643.\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":14,"permalink":"aufruf-zur-alternative-a3w-fiu","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":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/000/037/349/large/12.jpg?1507627303","poster_credits":"(c)SABAM België, 2017 - Courtesy CRAP!, photo: M HKA, 2017","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16893,"title":"Von Gloeden Postcards","dimensions":"9 x (9 x 14 cm)","date_begin":"1978-01-01","material":"postcards; ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":113,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Städtische Museen Heilbronn, retainer Ernst Franz Vogelmann Foundation","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"von-gloeden-postcards","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys hat eine Serie von 13 Postkarten mit Bildern des Barons Wilhelm von Gloeden (1856-1931) gemacht. Von Gloeden war ein deutscher Fotograf der in Sizilien t\u0026auml;tig war und vor allem Portr\u0026auml;te und pastorale Szenen mit jungen Modellen machte. Die Postkarten mit Denkm\u0026auml;lern und jungen arabischen Bewohnern, wurden urspr\u0026uuml;nglich von der Galerie Lucio Amelio in Neapel herausgegeben. Auf verschiedenen Portr\u0026auml;ten steht \u0026ldquo;La rivoluzione siamo Noi\u0026rdquo; (Wir sind die Revolution).\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/000/037/546/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_39.jpg?1507818498","poster_credits":"(c)SABAM België, 2017 - Courtesy Städtische Museen Heilbronn, retainer Ernst Franz Vogelmann Foundation, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys made a series of 13 postcards using photographs by Baron Wilhelm von Gloeden (1856-1931). Von Gloeden was a German photographer who was active in Sicily and particularly worked with portraits and pastoral scenes with young models. Originally commissioned by Gallerie Lucio Amelio in Naples, these postcards depict landmarks as well as young Arab residents. On many of the portraits is written La rivoluzione siamo Noi (We are the revolution).\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys maakte een reeks van 13 postkaarten met foto\u0026rsquo;s van baron Wilhelm von Gloeden (1856-1931). Von Gloeden was een Duitse fotograaf die op Sicili\u0026euml; actief was en vooral portretten en pastorale sc\u0026egrave;nes met jonge modellen maakte. De postkaarten, met monumenten en jonge, Arabische bewoners, werden oorspronkelijk uitgegeven door galerie Lucio Amelio in Napels. Op verschillende portretten staan \u0026ldquo;La rivoluzione siamo Noi\u0026rdquo; (Wij zijn de revolutie).\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys a produit une s\u0026eacute;rie de treize cartes postales de photos du baron Wilhelm von Gloeden (1856-1931). Von Gloeden \u0026eacute;tait un photographe, actif en Sicile, qui r\u0026eacute;alisait surtout des portraits et des sc\u0026egrave;nes pastorales avec de jeunes mod\u0026egrave;les. Les cartes postales, avec des monuments et de jeunes habitants arabes, ont \u0026eacute;t\u0026eacute; initialement \u0026eacute;dit\u0026eacute;es par la galerie Lucio Amelio \u0026agrave; Naples. Sur diff\u0026eacute;rents portraits, on peut lire : La rivoluzione siamo Noi (Nous sommes la r\u0026eacute;volution).\u003c/p\u003e\r\n"}]},{"id":16896,"title":"Zwei Fluxus-Objecte","dimensions":"variable dimensions","date_begin":"1974-01-01","material":"two tin cans, brown paint, string, paper flag, green Gerabte violin, audio tape, vynil notebook","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Hall Collection, NY, USA","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEdition: 24 + 6 planned, with tape and text roduced in only 12 pieces\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Edition Schellmann, M\u0026uuml;nchen\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":16,"permalink":"zwei-fluxus-objecte","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":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/000/037/477/large/BEUYSJO06.08.jpg?1507641506","poster_credits":"(c)SABAM België, 2017 - Courtesy Hall Art Foundation, NY, USA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16943,"title":"Transsibirische Bahn","dimensions":"00:22:00","date_begin":"1970-01-01","material":"music video","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":"Center for Art and Media Karlsruhe, Laboratory for Antique Video Systems","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"transsiberische-bahn","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":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/000/037/515/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_18_46.jpg?1507816740","poster_credits":"(c)SABAM België, 2017 - photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe installation \u003cem\u003eTranssibirische Bahn\u003c/em\u003e was created between 1961 and 1969. In 1970 it was shown in the Louisiana Museum in Denmark. After the exhibition Joseph Beuys installed the environment in a separate room, in order to shoot the film with the Danish filmmaker Ole John. Although, Beuys described the film as an action he had performed with the camera running, the camera is the active performer here. With the connection between the spheres of the east and the west as a central theme \u003cem\u003eTranssibirische Bahn\u003c/em\u003e is part of Beuys\u0026rsquo; larger Eurasia project.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eFilm by Ole John.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDe installatie \u003cem\u003eTranssibirische Bahn\u003c/em\u003e werd gecre\u0026euml;erd tussen 1961 en 1969. In 1970 werd ze getoond in het Louisiana Museum in Denemarken. Na de tentoonstelling installeerde Beuys het werk daar in een aparte ruimte, om er met de Deense filmmaker Ole John de film te schieten. Hoewel Beuys de film omschreef als een actie die hij had uitgevoerd voor de camera, is de camera eigenlijk de performer. Met de verbinding tussen oost en west als centraal thema maakt Transsibirische Bahn deel uit van Beuys\u0026rsquo; overkoepelende project Eurazi\u0026euml;.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eL\u0026rsquo;installation \u003cem\u003eTranssibirische Bahn\u003c/em\u003e, cr\u0026eacute;\u0026eacute;e entre\u0026nbsp;1961 et\u0026nbsp;1961, a \u0026eacute;t\u0026eacute; pr\u0026eacute;sent\u0026eacute;e en 1970 au Mus\u0026eacute;e Louisiana au Danemark. Apr\u0026egrave;s l\u0026rsquo;exposition, Beuys a install\u0026eacute; l\u0026rsquo;\u0026oelig;uvre dans un espace s\u0026eacute;par\u0026eacute; pour y tourner un film avec le cin\u0026eacute;aste danois Ole John. Bien que Beuys ait d\u0026eacute;crit le film comme une action ex\u0026eacute;cut\u0026eacute;e devant la cam\u0026eacute;ra, la cam\u0026eacute;ra est en fait la performeuse. Avec le lien entre l\u0026rsquo;Orient et l\u0026rsquo;Occident comme th\u0026egrave;me central, \u003cem\u003eTranssibirische Bahn\u003c/em\u003e fait partie du projet g\u0026eacute;n\u0026eacute;rique Eurasie de Beuys.\u003c/p\u003e\r\n"}]},{"id":16903,"title":"Aufruf zur Alternative","dimensions":"","date_begin":"1978-01-01","material":"poster, signed, FUI stamp, ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":138,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"CRAP!, Collection for the Research of Artists' Publications","cached_tag_list":"folder","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"aufruf-zur-alternative","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":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/000/037/423/large/07.jpg?1507626559","poster_credits":"(c)SABAM België, 2017 - Courtesy CRAP!, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eManifest\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026#39;...During the meetings of F.I.U. in Antwerp Anny De Decker an other members made brief notes on the discussed themes in a notebook, without the intention of putting them to any concrete use. What was concrete however, was L.J. De Schutter\u0026#39;s plan to publish Beuys\u0026#39; Aufruf zur Alternative in Dutch to increase its local notoriety. Aline Dereere, a germanist and friend, agreed to translate the text, which was then edited by L.J. De Schutter, Bernd Lohaus and Anny De Decker. They never asked for an offical permission to publish the text but De Decker recalls that Beuys was fine with it all. The sober design by Rob Buytaert was based on the original 1980 Achberger edition. The printing of 1000 copies of the 15-page pamphlet was paid by De Schutter himself. He remembers that the German F.I.U. purchased a number of copies, as did the Museum Boijmans Van Beuningen, which sold it in its bookshop. The booklet was allegedly also distributed during \u003cem\u003edocumenta 8\u003c/em\u003e (1986).\u0026#39;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e(source: Johan Pas, \u003cem\u003eGreetings from the Eurasian,\u0026nbsp;\u003c/em\u003eKoenig Books, London)\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16912,"title":"Eurasienstab","dimensions":"00:21:16","date_begin":"1968-01-01","material":"video","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Center for Art and Media Karlsruhe, Laboratory for Antique Video Systems","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"eurasienstab-c8db0471-5b5e-448e-bf5b-a4e69726e710","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":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/000/037/535/large/Joseph_Beuys_and_Henning_Christiansen__Eurasienstab__Fluxorum_organum_opus_39_%2816mm_film_still%29__1968._Camera_Paul_De_Fru._Courtesy_Wide_White_Space_archive__%C2%A9_SABAM_%28Belgium%29__201.jpg?1507815670","poster_credits":"(c)SABAM België, 2017 - Joseph Beuys and Henning Christiansen, 16mm film still - Courtesy Wide White Space Archive","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16939,"title":"Schottische Symphonie / Requiem for Art","dimensions":"00:12:00, 31.3 x 31.3 cm (cover)","date_begin":"1973-01-01","material":"vinyl LP","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":80,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"L.J. De Schutter","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"schottische-symphonie-requiem-for-art","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":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/000/037/350/large/2014-1353_15923.jpg?1507538925","poster_credits":"(c)SABAM België, 2017 - photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp\u003eEdition: 500, numbered, not signed\u003c/p\u003e\r\n\r\n\u003cp\u003ePuslbisher: Edition Schellmann, M\u0026uuml;nchen\u003c/p\u003e\r\n\r\n\u003cp\u003eSecond edition with different cover artwork than the original release.\u0026nbsp;\u003cbr /\u003e\r\nComes in a b/w gatefold cover with an 8-page booklet, including colored graphic scores by Henning Christiansen.\u0026nbsp;\u003cbr /\u003e\r\nLimited edition of 800 copies, of which 90 + XXX signed and numbered copies were included in the portfolio \u0026quot;F\u0026uuml;r Joseph Beuys\u0026quot;.\u0026nbsp;\u003cbr /\u003e\r\nThere are also just a few copies (unknown number) with unique drawings by Christiansen on the inner sides of the gatefold sleeve, signed and dated, not numbered. The booklets coming with these copies are signed and dated as well.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16877,"title":"Rückenstütze eines feingliederigen Menschen (Hasentypus) aus dem 20. Jh. p. Chr.","dimensions":"15 x 96 x 43 cm","date_begin":"1972-01-01","material":"iron","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Hall Collection, NY, USA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"ruckenstutze-eines-feingliederigen-menschen-hasentypus-aus-dem-20-jh-p-chr","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDas mit Filz ausgekleidete Hilfsmittel aus Gips, das urspr\u0026uuml;nglich als therapeutische R\u0026uuml;ckenst\u0026uuml;tze bei der Behandlung von Knochenfehlbildungen bei jungen Kindern eingesetzt wurde, diente als Grundlage f\u0026uuml;r dieses Werk aus Gusseisen. Der Titel erweckt den Eindruck, dass es eine alternative Funktion und einen anderen Benutzer gibt, \u0026bdquo;eine Person mit d\u0026uuml;nnen Gliedma\u0026szlig;en (Hasentyp) aus dem 20. Jh. n. Chr.\u0026ldquo;. In dem Oeuvre von Beuys repr\u0026auml;sentiert das Verhalten des Hasen m\u0026ouml;gliche Modelle f\u0026uuml;r menschliches Handeln. Die Geschicklichkeit, Dynamik und Flexibilit\u0026auml;t eines Hasen sind wesentliche Voraussetzungen f\u0026uuml;r soziale Kreativit\u0026auml;t und Fortschritt. Die eiserne R\u0026uuml;ckenst\u0026uuml;tze bietet eine sichere Position, von der aus dieser Fortschritt erzielt werden kann.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 12 + 2 a.p.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition seriaal, Amsterdam\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/000/037/474/large/BEUYSJO06.16.jpg?1507642288","poster_credits":"(c)SABAM, 2017 - Courtesy Hall Art Foundation, NY, USA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThis iron form was cast from a plaster implement lined with felt, originally used as a therapeutic backrest to treat bone deformities in young children. The title suggests an alternate function and a new user, \u0026lsquo;a Fine-Limbed Person (Hare-Type) of the 20th Century\u0026nbsp;A.D.\u0026rsquo; In Beuys\u0026rsquo; oeuvre the hare\u0026rsquo;s behaviour represents potential models for human conduct. Especially the agility, energy, dynamism and flexibility associated with a hare are vital preconditions for social creativity and progress. The iron backrest provides a safe position from which to carry out this progress.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 12 + 2 a.p.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition seriaal, Amsterdam\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eHet gipsen hulpmiddel, gevoerd met vilt, dat oorspronkelijk gebruikt werd als therapeutische rugleuning bij de behandeling van botmisvormingen bij jonge kinderen diende als basisvorm voor dit gietijzeren werk. De titel doet geloven dat er een alternatieve functie en gebruiker is, \u0026lsquo;een persoon met fijne ledematen (type-haas) uit de 20\u003csup\u003ee\u003c/sup\u003e eeuw A.D.\u0026rsquo;. In het oeuvre van Beuys vertegenwoordigt het gedrag van de haas potenti\u0026euml;le modellen voor het menselijk handelen. De behendigheid, energie, dynamiek en flexibiliteit van een haas zijn essenti\u0026euml;le voorwaarden voor sociale creativiteit en vooruitgang. De ijzeren rugleuning biedt een veilige positie waaruit deze vooruitgang kan worden uitgevoerd.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEditie: 12 + 2 a.p.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eUitgever: Edition seriaal, Amsterdam\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eCette forme en fer a \u0026eacute;t\u0026eacute; moul\u0026eacute;e sur la base d\u0026#39;un outil en pl\u0026acirc;tre recouvert de feutre, utilis\u0026eacute; \u0026agrave; l\u0026#39;origine en tant que dossier th\u0026eacute;rapeutique pour traiter les difformit\u0026eacute;s osseuses chez les jeunes enfants. Le titre sugg\u0026egrave;re une fonction alternative et un nouvel utilisateur, \u0026#39;une Personne \u0026agrave; Membres Fins (type li\u0026egrave;vre) du XX\u0026egrave;me si\u0026egrave;cle A.D.\u0026#39; Dans l\u0026#39;oeuvre de Beuys, le comportement du li\u0026egrave;vre repr\u0026eacute;sente des mod\u0026egrave;les potentiels de comportement humain. L\u0026#39;agilit\u0026eacute;, l\u0026#39;\u0026eacute;nergie, le dynamisme et la flexibilit\u0026eacute; associ\u0026eacute;s au li\u0026egrave;vre, notamment, sont des conditions pr\u0026eacute;alables essentielles \u0026agrave; la cr\u0026eacute;ativit\u0026eacute; sociale et au progr\u0026egrave;s. Le dossier en fer offre une position s\u0026ucirc;re \u0026agrave; partir de laquelle progresser ainsi.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: 12 + 2 a.p.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition seriaal, Amsterdam\u003c/p\u003e\r\n"}]},{"id":16870,"title":"Infiltration homogen für Konzertflügel","dimensions":"100 x 152 x 240 cm","date_begin":"1966-01-01","material":"Grand piano, grey felt, cross in red fabric","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":"Courtesy Centre Pompidou, Paris, Musée national d'art moderne/Centre de création industrielle","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"infiltration-homogen-fur-konzertflugel","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eDieses Werk ist entstanden w\u0026auml;hrend der Aktion \u003cem\u003eInfiltration Homogen f\u0026uuml;r Konzertfl\u0026uuml;gel der gr\u0026ouml;\u0026szlig;te Komponist der Gegenwart ist das Contergankind \u003c/em\u003ewelche Joseph Beuys 1966 anl\u0026auml;sslich eines Fluxus Festivals an der D\u0026uuml;sseldorfer Akademie f\u0026uuml;r Bildende K\u0026uuml;nste durchgef\u0026uuml;hrt hat. Mit seiner Aktion m\u0026ouml;chte Beuys hinweisen auf das pharmazeutische Skandal in Sachen Thalidomid, ein Arzneimittel dass ernsthafte kongenitale Anomalien bei Kindern verursacht hat und deren Mutter dieses Arzneimittel w\u0026auml;hrend der Schwangerschaft \u0026nbsp;genommen hatte. Beuys bringt einen Fl\u0026uuml;gel zum Schweigen indem er diesen mit Filz umh\u0026uuml;llt. Das Werk weist auf die Gefahr die entsteht wenn wir l\u0026auml;nger schweigen. \u003cem\u003eInfiltration Homogen f\u0026uuml;r Konzertfl\u0026uuml;gel \u003c/em\u003ewurde 1970 in der Wide White Space in Antwerpen gezeigt.\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/000/037/598/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_6_3.jpg?1507813369","poster_credits":"(c)SABAM België, 2017 - photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThis work originated during the action \u003cem\u003eInfiltration Homogen f\u0026uuml;r Konzertfl\u0026uuml;gel, der gr\u0026ouml;\u0026szlig;te Komponist der Gegenwart ist das Contergankind\u003c/em\u003e, performed by Joseph Beuys in 1966 during a Fluxus festival at the D\u0026uuml;sseldorf Academy of Fine Arts. With his action, Beuys wanted to highlight the pharmaceutical scandal surrounding thalidomide, a drug that caused serious birth defects in children whose mother took it during pregnancy. Beuys silences a grand piano by coating it with felt. The work seeks to indicate the danger that occurs when we remain silent. \u003cem\u003eInfiltration Homogen f\u0026uuml;r Konzertfl\u0026uuml;gel\u003c/em\u003e was exhibited at Wide White Space in 1970.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eDit werk is ontstaan tijdens de actie \u003cem\u003eInfiltration Homogen fur Konzertfl\u0026uuml;gel der gr\u0026ouml;\u0026szlig;te Komponist der Gegenwart ist das Contergankind\u003c/em\u003e die Joseph Beuys in 1966 uitvoerde tijdens een Fluxus festival aan de Academie voor Schone Kunsten van D\u0026uuml;sseldorf. Met zijn actie wilde Beuys het farmaceutische schandaal rond thalidomide, een geneesmiddel dat voor ernstige aangeboren afwijkingen zorgde bij kinderen waarvan de moeder het tijdens de zwangerschap nam, onder de aandacht brengen. Beuys legt een vleugelpiano het zwijgen op door ze met vilt te bekleden. Het werk wijst op het gevaar dat ontstaat als we blijven zwijgen. \u003cem\u003eInfiltration Homogen f\u0026uuml;r Konzertfl\u0026uuml;gel\u003c/em\u003e werd in 1970 getoond in de Wide White Space in Antwerpen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eCette \u0026oelig;uvre est n\u0026eacute;e pendant l\u0026rsquo;action \u003cem\u003eInfiltration Homogen fur Konzertfl\u0026uuml;gel, der gr\u0026ouml;\u0026szlig;te Komponist der Gegenwart ist das Contergankind \u003c/em\u003eque Joseph Beuys a r\u0026eacute;alis\u0026eacute;e en 1966 lors d\u0026rsquo;un festival Fluxus \u0026agrave; l\u0026rsquo;Acad\u0026eacute;mie des Beaux-Arts de D\u0026uuml;sseldorf. Par son action, Beuys a voulu attirer l\u0026rsquo;attention sur le scandale pharmaceutique du thalidomide, un m\u0026eacute;dicament qui a provoqu\u0026eacute; de graves malformations chez les enfants dont les m\u0026egrave;res ont pris le m\u0026eacute;dicament durant la grossesse. Beuys impose le silence \u0026agrave; un piano \u0026agrave; queue en le recouvrant de feutre. L\u0026rsquo;\u0026oelig;uvre met l\u0026rsquo;accent sur le danger qui d\u0026eacute;coule du silence. En 1970, la galerie Wide White Space \u0026agrave; Anvers a pr\u0026eacute;sent\u0026eacute; \u003cem\u003eInfiltration Homogen f\u0026uuml;r Konzertfl\u0026uuml;gel\u003c/em\u003e.\u003c/p\u003e\r\n"}]},{"id":16909,"title":"Das halbe Filzkreuz über Köln","dimensions":"","date_begin":"1974-01-01","material":"postcards; ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":113,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collectie M HKA, Antwerp","cached_tag_list":"postcard","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"das-halbe-filzkreuz-uber-koln","description_ru":"","description_de":"\u003cp\u003eEdition: unlimited,\u0026nbsp;signed\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\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":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/360/large/beuys-das_halbe_filzkreuz_p14.jpg?1507541219","poster_credits":"(c)SABAM België, 2017 - photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp\u003eEdition: unlimited,\u0026nbsp;signed\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEdition: unlimited,\u0026nbsp;signed\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEdition: unlimited,\u0026nbsp;signed\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n"}]},{"id":16925,"title":"Kunst = Kapital","dimensions":"","date_begin":"1982-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collectie M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"kunst-kapital-8bf5f9a8-ddce-45f1-9d76-6876bedb55a8","description_ru":"","description_de":"\u003cp\u003ePlakat der F.I.U. anl\u0026auml;sslich der \u003cem\u003eDocumenta 7\u003c/em\u003e in Kassel 1982.\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":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/356/large/1024px-Documenta_7_Free_International_University_1982.jpg?1507540699","poster_credits":"(c)By Pressebüro der Documenta GmbH Klaus Becker / Foto Dietmar Walberg - CC-BY-SA-3.0 - via Wikimedia Commons","translations":[{"locale":"en","description":"\u003cp\u003ePoster of the Free International University\u0026nbsp;on the occasion of the \u003cem\u003eDocumenta 7\u003c/em\u003e in Kassel in 1982.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eAffiche van de\u0026nbsp;Free International University ter gelegenheid van de \u003cem\u003eDocumenta 7 \u003c/em\u003ete Kassel in 1982.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAffiche de la F.I.U. \u0026agrave; l\u0026#39;occasion de la Documenta 7 \u0026agrave; Kassel en 1982.\u003c/p\u003e\r\n"}]},{"id":16924,"title":"Joseph Beuys Postkarten","dimensions":"","date_begin":"1980-01-01","material":"postcards; ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":113,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"CRAP!, Collection for the Research of Artists' Publications","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eBox of postcards, signed on cover\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition: 120 + 20, signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Edition Staeck, Heidelberg\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":15,"permalink":"joseph-beuys-postkarten","description_ru":"","description_de":"\u003cp\u003eBox of postcards, signed on cover\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition: 120 + 20, signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Edition Staeck, Heidelberg\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/000/037/416/large/03.jpg?1507625217","poster_credits":"(c)SABAM België, 2017 - Courtesy CRAP!, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp\u003eBox of postcards, signed on cover\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition: 120 + 20, signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Edition Staeck, Heidelberg\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eBox of postcards, signed on cover\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition: 120 + 20, signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Edition Staeck, Heidelberg\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eBox of postcards, signed on cover\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition: 120 + 20, signed and numbered\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Edition Staeck, Heidelberg\u003c/p\u003e\r\n"}]},{"id":16994,"title":"Capri-Batterie","dimensions":"11 x 8 cm","date_begin":"1985-01-01","material":"objet trouve, lemon, light bulb, plug socket","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":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"capri-batterie","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":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/000/037/605/large/Joseph_Beuys_%E2%80%93_Groeten_van_de_Euraziaat__photo_M_HKA_15_14.jpg?1507819120","poster_credits":"(c)SABAM, 2017 - photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp\u003eConsidered to be one of his last great works before he died, Beuys created over 200 multiples of \u0026ldquo;Lemon Light/Capri Battery\u0026rdquo; in 1985. The yellow light bulb is plugged into a fresh lemon, from where it gets its energy, emitting a dim yellow glow. In this piece, Beuys is calling into question the ecological balance of civilization, the principle behind which is an ecologically sound energy source. Beuys completed the work on the island of Capri, hence the name, while he was recovering from an illness, and the light\u0026rsquo;s lemon yellow color reflects this jovial atmosphere and bright Mediterranean sun.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17038,"title":"Beuys 2017 - Broodthaers 2018 - Byars 2019 in Antwerpen (Over drie komende tentoonstellingen in M HKA - Museum van Hedendaagse Kunst Antwerpen","dimensions":"28.7 x 20.1 cm, 27 p., language : English, publisher : M HKA Museum van Hedendaagse Kunst, Antwerpen, ISBN : 978-907-282-8569","date_begin":"2017-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2028/732","stream_count_app":7,"permalink":"beuys-2017-broodthaers-2018-byars-2019-in-antwerpen-over-drie-komende-tentoonstellingen-in-m-hka-museum-van-hedendaagse-kunst-antwerpen","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":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/000/037/824/large/20171025145055768_0003.jpg?1508937279","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eEditor :\u0026nbsp;Antony Hudek.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts by : Anny De Decker, Marcel Broodthaers, Maria Gilissen Broodthaers, Isi Fiszman, Jef Cornelis \u0026amp; Florent Bex.\u003c/p\u003e\r\n\r\n\u003cp\u003eAvailable in the M HKA bookshop.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":17044,"title":"Joseph Beuys - Groeten van de Euraziaat","dimensions":"28.6 x 20 cm, 47 p., language : Dutch, publisher : Museum van Hedendaagse Kunst Antwerpen/Koenig Books London, ISBN : 978-3-96098-265-4","date_begin":"2017-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2028/906","stream_count_app":10,"permalink":"joseph-beuys-groeten-van-de-euraziaat","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":"Joseph Beuys","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/000/037/860/large/20171025145055768_0001.jpg?1508998704","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eEditor : Antony Hudek.\u003c/p\u003e\r\n\r\n\u003cp\u003eThis book contains Dutch translations of the contributions (Texts, Interviews, Conversations, Letters) in the exhibition catalogue \u0026#39;Joseph Beuys - Greetings from the Eurasian\u0026#39;.\u003c/p\u003e\r\n\r\n\u003cp\u003eAvailable in the M HKA Bookshop.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":26814,"title":"Joseph Beuys, \"Unternehmensverband. Aufruf zur Alternative A3W FIU\"","dimensions":"24.2 x 16.3 cm","date_begin":"1980-01-01","material":"paper, ink","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":"Monoculture Beuys","publishing_process_id":1,"annotation":"\u003cp\u003eJoseph Beuys, \u003cem\u003eUnternehmensverband. Aufruf zur Alternative A3W FIU (Call for an Alternative)\u003c/em\u003e, 1980\u003c/p\u003e\r\n\r\n\u003cp\u003ePublished by Achberger Berlag\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":20,"permalink":"unternehmensverband-aufruf-zur-alternative-a3w-fiu","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/000/062/446/medium_500/Beuys1.jpg?1601544109","cached_actor_names":"Joseph Beuys","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/000/062/445/large/Beuys2.jpg?1601543868","poster_credits":"©SABAM België, 2017 - Courtesy CRAP!, photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp\u003eFrom the mid-1960s onwards, Joseph Beuys\u0026#39; artistic and political activities became increasingly intertwined. He expressed political ideas in his works, yet at the same time he also regarded his own commitment as a work of art in itself. In \u003cem\u003eAufruf zur Alternative \u003c/em\u003e(Call for an Alternative), Beuys sketches elements of the crisis in which he feels post-war Europe has ended up: nuclear threat, environmental problems, unrestrained consumption and inequality created by money and state. Because the two dominant Western ideologies, capitalism and communism, caused this crisis, he proposes a \u0026lsquo;Dritte Weg\u0026rsquo; (Third Way): through direct democracy, all creative initiatives that have a positive impact on society can shape the \u0026#39;social sculpture\u0026#39;. When dissatisfied by communism and capitalism, there can be a Third Way, for finding individual emancipation, but with a sense of responsibility to society. In this way, Beuys opposes modernism\u0026#39;s homogeneous grand narratives, shifting the emphasis on human creativity, direct action and nature.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ldquo;[The total alternative movement] consists of a multitude of movements, initiatives, organisations, institutions, etc. They all have a chance if they act jointly.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ldquo;However, a common election initiative does not mean: party organisation, party programme, old-style party debate. The unity needed can only be UNITY IN DIVERSITY.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ldquo;The movement of action groups, the ecological movement, the peace and women movement, the movement for democratic socialism, for humanist liberalism, for a Third Way, the anthroposophical movement and the Christian-confessional oriented movements, the civil rights movement and the movement for the developing world have to recognise that they are an indispensable part of the total alternative movement; parts that are not mutually exclusive or contradictory but are complementary.\u0026quot;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eVanaf het midden van de jaren 1960 geraakten de artistieke en politieke activiteiten van Joseph Beuys (1921-1986) steeds meer met elkaar vervlochten. Hij drukte zijn politieke idee\u0026euml;n uit in zijn werken, maar beschouwde tegelijk zijn engagement op zich ook als kunstwerk. In \u003cem\u003eOproep tot een alternatief \u003c/em\u003e schets Beuys elementen van de crisis waarin het naoorlogse Europa volgens hem is beland: kerndreiging, milieuproblematiek, ongebreidelde consumptie en ongelijkheid gecre\u0026euml;erd door geld en staat. Omdat de twee dominante Westerse ideologie\u0026euml;n, het kapitalisme en het communisme, deze crisis hebben veroorzaakt, stelt hij een \u0026lsquo;Dritte Weg\u0026rsquo; voor: via directe democratie kunnen alle creatieve initiatieven die een positieve impact hebben op de samenleving vorm geven aan de \u0026lsquo;sociale sculptuur\u0026rsquo;. De \u0026lsquo;derde weg\u0026rsquo; richt zich op het vinden van individuele emancipatie, maar met een verantwoordelijkheidsgevoel voor de samenleving. Op die manier gaat Beuys in tegen de homogene grootverhalen van het modernisme en verlegt hij de nadruk op menselijke creativiteit, directe actie en natuur.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026ldquo;[De totale alternatieve beweging] bestaat uit een massa stromingen, initiatieven, organisaties, instellingen enz. Zij allen hebben maar een kans als ze gemeenschappelijk optreden.\u003c/p\u003e\r\n\r\n\u003cp\u003eGemeenschappelijk verkiezingsinitiatief betekent echter niet: partijorganisatie, partijprogramma, partijdebat in de oude stijl. De eenheid die nodig is kan enkel de EENHEID IN DE VEELHEID zijn.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe beweging van actiegroepen, de ecologische beweging, de vredes- en vrouwenbeweging, de beweging voor een democratisch socialisme, voor een humanistisch liberalisme, voor een Derde Weg, de antroposofische beweging en de christelijk-confessioneel geori\u0026euml;nteerde stromingen, de beweging voor burgerrechten en de beweging voor de derde wereld moeten erkennen dat ze onmisbaar deel van de totale alternatieve beweging zijn; delen die elkaar niet uitsluiten of tegenspreken maar aanvullen.\u0026rdquo;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026Agrave; partir du milieu des ann\u0026eacute;es 1960, les activit\u0026eacute;s artistiques et politiques de Joseph Beuys s\u0026rsquo;entrem\u0026ecirc;lent de plus en plus. Tout en exprimant ses id\u0026eacute;es politiques dans ses \u0026oelig;uvres, il consid\u0026eacute;rait son propre engagement comme une \u0026oelig;uvre d\u0026rsquo;art en soi. Dans Aufruf zur Alternative (\u0026laquo; Appel \u0026agrave; une alternative \u0026raquo;), Beuys d\u0026eacute;crit les \u0026eacute;l\u0026eacute;ments de la crise o\u0026ugrave; se trouve, selon lui, l\u0026rsquo;Europe d\u0026rsquo;apr\u0026egrave;s-guerre : la menace nucl\u0026eacute;aire, la probl\u0026eacute;matique environnementale, la consommation d\u0026eacute;brid\u0026eacute;e et les in\u0026eacute;galit\u0026eacute;s cr\u0026eacute;\u0026eacute;es par l\u0026rsquo;argent et par l\u0026rsquo;\u0026Eacute;tat. Comme cette crise a \u0026eacute;t\u0026eacute; provoqu\u0026eacute;e par les deux id\u0026eacute;ologies occidentales dominantes, le capitalisme et le communisme, il propose une \u0026laquo; Troisi\u0026egrave;me voie \u0026raquo; : en se fondant sur la d\u0026eacute;mocratie directe, toutes les initiatives cr\u0026eacute;atives ayant une influence positive sur la soci\u0026eacute;t\u0026eacute; peuvent contribuer \u0026agrave; fa\u0026ccedil;onner la \u0026laquo; sculpture sociale \u0026raquo;. La troisi\u0026egrave;me voie consiste \u0026agrave; trouver l\u0026rsquo;\u0026eacute;mancipation individuelle, mais avec un sens de responsabilit\u0026eacute; pour la soci\u0026eacute;t\u0026eacute;. Ainsi, Beuys va \u0026agrave; l\u0026rsquo;encontre des grands r\u0026eacute;cits homog\u0026egrave;nes du modernisme, en mettant au premier plan la cr\u0026eacute;ativit\u0026eacute; humaine, l\u0026rsquo;action directe et la nature.\u003c/p\u003e\r\n"}]},{"id":16913,"title":"Eurasienstab über den Alpen","dimensions":"","date_begin":"1971-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":113,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerp","cached_tag_list":"photographic paper","publishing_process_id":1,"annotation":"","date_end":null,"reference":"M00307","stream_count_app":38,"permalink":"eurasienstab-uber-den-alpen","description_ru":"","description_de":"\u003cp\u003eEdition: unlimited edition\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\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":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/037/472/medium_500/Joseph_Beuys__Eurasienstab_%C3%BCber_den_Alpen__1971._Edition_Staeck__Heidelberg._Courtesy_M_HKA__%C2%A9_SABAM_%28Belgium%29__2017.jpg?1507640587","cached_actor_names":"Joseph Beuys","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/000/037/472/large/Joseph_Beuys__Eurasienstab_%C3%BCber_den_Alpen__1971._Edition_Staeck__Heidelberg._Courtesy_M_HKA__%C2%A9_SABAM_%28Belgium%29__2017.jpg?1507640587","poster_credits":"(c)SABAM België, 2017 - photo: M HKA, 2017","translations":[{"locale":"en","description":"\u003cp\u003eThe term Eurasia refers to the super-continent, that includes the landmasses of Europe and Asia. Eurasia held an important place for Beuys as a complex philosophical and cultural concept, which he used to problematise the artificial separation between \u0026lsquo;East\u0026rsquo; and \u0026lsquo;West\u0026rsquo;. Eurasia, in Beuys\u0026rsquo; conception, was an open space without physical or ideological boundaries, and possessing a great plurality of culture. Sitting in contrast to the modernist construct of nations states, Eurasia is a space of free movement and the exchange of ideas since ancient times. Anyone who lived on the landmass would be a Eurasian, whether a person is a Fleming, Rheinlander, Mongol, Tartar, Desi, or from any other cultural group. The concept was also a way for him to look away from America as a dominant force of modernity and hegemony. The staff we see in the title of this postcard edition, seen here floating above Munich, refers to the one used by Beuys in his performance \u003cem\u003eEurasienstab\u003c/em\u003e, made together with Henning Christiansen in Antwerp at Wide White Space on 9 February 1968.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: unlimited edition\u003c/p\u003e\r\n\r\n\u003cp\u003eEdition Staeck, Heidelberg\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe term \u0026lsquo;Eurazi\u0026euml;\u0026rsquo; verwijst naar de het supercontinent dat de landmassa\u0026#39;s Europa en Azi\u0026euml; omvat. Eurazi\u0026euml; was voor Beuys een complex filosofisch en cultureel concept waarmee hij de kunstmatige scheiding tussen \u0026#39;Oost\u0026#39; en \u0026#39;West\u0026#39; problematiseerde. Voor hem was Eurazi\u0026euml; een open ruimte zonder fysieke of ideologische grenzen en met een grote verscheidenheid aan culturen. In tegenstelling tot de modernistische constructie van natiestaten, is Eurazi\u0026euml; sinds de oudheid een ruimte van vrij verkeer en vrije uitwisseling van idee\u0026euml;n. Iedereen die op die landmassa woonde, was volgens Beuys een Euraziaat, of iemand nu Vlaming, Rijnlander, Mongool, Tartaar of Desi is. Het concept was voor hem ook een manier om weg te kijken van Amerika als dominante modernistische en hegemonische kracht. De staf die in de titel (Eurazi\u0026euml;staf boven de Alpen) van deze postkaartuitgave voorkomt \u0026ndash; en die hier boven M\u0026uuml;nchen zweeft \u0026ndash; verwijst naar de staf die Beuys gebruikte in zijn performance \u003cem\u003eEurasienstab\u003c/em\u003e, die hij op 9 februari 1968 samen met Henning Christiansen opvoerde in de Wide White Space Gallery in Antwerpen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe terme Eurasie fait r\u0026eacute;f\u0026eacute;rence \u0026agrave; la masse continentale, ou supercontinent, qui comprend les provinces d\u0026#39;Europe et d\u0026#39;Asie. L\u0026#39;Eurasie occupait une place importante pour Beuys en tant que concept philosophique et culturel complexe qu\u0026#39;il utilisait pour probl\u0026eacute;matiser la s\u0026eacute;paration artificielle entre \u0026laquo; l\u0026#39;Est \u0026raquo; et \u0026laquo; l\u0026#39;Ouest \u0026raquo;. L\u0026#39;Eurasie \u0026eacute;tait, dans la conception de Beuys, un espace ouvert sans fronti\u0026egrave;res physiques ou id\u0026eacute;ologiques et qui poss\u0026eacute;dait une grande pluralit\u0026eacute; de cultures. Contrairement \u0026agrave; la construction moderniste des \u0026Eacute;tats nations, l\u0026#39;Eurasie est un espace de libre circulation et d\u0026#39;\u0026eacute;change d\u0026#39;id\u0026eacute;es depuis l\u0026#39;Antiquit\u0026eacute;. Quiconque vivrait sur cette masse continentale serait un Eurasien, qu\u0026#39;il s\u0026#39;agisse d\u0026#39;un Flamand, d\u0026#39;un Rheinlander, d\u0026#39;un Mongol, d\u0026#39;un Tartare, d\u0026#39;un Desi ou d\u0026#39;une personne de tout autre groupe culturel. Ce concept \u0026eacute;tait aussi pour lui un moyen de d\u0026eacute;tourner le regard de l\u0026#39;Am\u0026eacute;rique comme une force dominante de modernit\u0026eacute; et d\u0026#39;h\u0026eacute;g\u0026eacute;monie. Le b\u0026acirc;ton que nous voyons dans le titre de cette \u0026eacute;dition carte postale, repr\u0026eacute;sent\u0026eacute; ici flottant au-dessus de Munich, fait r\u0026eacute;f\u0026eacute;rence \u0026agrave; celui utilis\u0026eacute; par Beuys dans sa repr\u0026eacute;sentation \u003cem\u003eEurasienstab\u003c/em\u003e, r\u0026eacute;alis\u0026eacute;e avec Henning Christiansen \u0026agrave; Anvers au Wide White Space Gallery le 9 f\u0026eacute;vrier 1968.\u003c/p\u003e\r\n"}]},{"id":27588,"title":"COYOTE – I Like America and America Likes Me","dimensions":"","date_begin":"1974-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"VERDEC","cached_tag_list":"monoculture","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"coyote-i-like-america-and-america-likes-me","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/000/062/913/medium_500/_WIM5089.jpg?1602255334","cached_actor_names":"Joseph Beuys","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/000/062/913/large/_WIM5089.jpg?1602255334","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eJoseph Beuys had a troubled relationship with American culture. His performance \u003cem\u003eCOYOTE \u0026ndash; I Like America and America Likes Me\u003c/em\u003e ook place in May 1974 at Ren\u0026eacute; Block Gallery in New York, where he spent three days locked in a room with a live coyote. Beuys flew to New York and was taken by ambulance to the gallery. Throughout the performance, he interacted with the coyote, sometimes he was wrapped in grey felt, holding a large staff, sometimes they circled each other, and the coyote would eventually rip the felt to shreds. At the end of the performance, Beuys hugged the coyote as a symbol of its tolerance towards him, and was returned to the airport once again in an ambulance, arriving and then leaving America without touching its soil. Beuys stated: \u0026ldquo;I wanted to isolate myself, insulate myself, see nothing of America other than the coyote\u0026rdquo;. His ritualistic action was an act of solidarity with Indigenous Americans, some tribes of which saw the coyote as a sacred animal able to move between the physical and spiritual worlds. Beuys saw the decimation of the coyote population by European settlers as symbolic of the violence of white men on indigenous cultures. \u0026ldquo;You could say that a reckoning has to be made with the coyote, and only then can this trauma be lifted\u0026rdquo; he stated.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eJoseph Beuys had een ongemakkelijke relatie met de Amerikaanse cultuur. Zijn performance \u003cem\u003eI like America and America likes me\u003c/em\u003e vond plaats in mei 1974 in de Ren\u0026eacute; Block Gallery in New York, waar Beuys drie dagen opgesloten zat met een levende coyote in een soort kooi. Beuys vloog naar New York en werd per ambulance naar de galerie gebracht. Gedurende de hele voorstelling had hij contact met de coyote, soms was hij in grijs vilt gewikkeld en hield hij een grote staf vast, af en toe cirkelden ze om elkaar heen, en de coyote scheurde het vilt uiteindelijk aan flarden. Aan het einde van de performance omhelsde Beuys de coyote als symbool van zijn tolerantie jegens hem, en werd hij opnieuw in een ambulance naar het vliegveld teruggebracht. Hij kwam dus toe in Amerika en verliet het land weer zonder de bodem te raken. Beuys verklaarde: \u0026ldquo;Ik wilde mezelf afzonderen, mezelf isoleren, niets anders van Amerika zien dan de coyote.\u0026rdquo; Zijn rituele actie was een daad van solidariteit met de inheemse Amerikanen, waarvan sommige stammen de coyote zagen als een heilig dier dat zich kon verplaatsen tussen de fysieke en spirituele werelden. Beuys zag de decimering van de coyote-populatie door Europese kolonisten als symbolisch voor het geweld op inheemse culturen. \u0026ldquo;Je zou kunnen zeggen dat er nog een rekening vereffend moet worden met de coyote, en pas dan kan dit trauma worden opgeheven,\u0026rdquo; zei hij.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eJoseph Beuys entretenait une relation trouble avec la culture am\u0026eacute;ricaine. Sa repr\u0026eacute;sentation \u003cem\u003eCOYOTE - I Like America and America Likes Me\u003c/em\u003e eut lieu en mai 1974 \u0026agrave; la Ren\u0026eacute; Block Gallery de New York, o\u0026ugrave; il passa trois jours enferm\u0026eacute; dans une pi\u0026egrave;ce avec un coyote vivant. Beuys avait pris l\u0026#39;avion pour New York et avait \u0026eacute;t\u0026eacute; emmen\u0026eacute; en ambulance \u0026agrave; la galerie. Tout au long de la repr\u0026eacute;sentation, il interagissait avec le coyote, parfois envelopp\u0026eacute; d\u0026#39;une couverture en feutre gris et tenant un long b\u0026acirc;ton. Parfois lui et le coyote tournaient l\u0026#39;un autour de l\u0026#39;autre et le coyote finissait par mettre la couverture en feutre en lambeaux. \u0026Agrave; la fin de la repr\u0026eacute;sentation, Beuys serra dans ses bras le coyote comme pour symboliser sa tol\u0026eacute;rance \u0026agrave; son \u0026eacute;gard, et il fut ramen\u0026eacute; \u0026agrave; l\u0026#39;a\u0026eacute;roport de nouveau en ambulance, arrivant en Am\u0026eacute;rique puis quittant l\u0026#39;Am\u0026eacute;rique sans en toucher le sol. Beuys d\u0026eacute;clara : \u0026laquo; Je voulais m\u0026#39;isoler, m\u0026#39;entourer d\u0026#39;isolant, ne rien voir de l\u0026#39;Am\u0026eacute;rique \u0026agrave; part le coyote \u0026raquo;. Son action rituelle \u0026eacute;tait un acte de solidarit\u0026eacute; avec les Am\u0026eacute;rindiens, dont certaines tribus consid\u0026eacute;raient le coyote comme un animal sacr\u0026eacute; capable de se d\u0026eacute;placer entre les mondes physique et spirituel. Beuys voyait la d\u0026eacute;cimation de la population de coyotes par les colons europ\u0026eacute;ens comme symbolique de la violence des hommes blancs sur les cultures indig\u0026egrave;nes. \u0026laquo; Pour moi, nous devons rendre des comptes au coyote, et ce n\u0026#39;est qu\u0026#39;alors que ce traumatisme pourra \u0026ecirc;tre lev\u0026eacute; \u0026raquo;, d\u0026eacute;clara-t-il.\u003c/p\u003e\r\n"}]},{"id":16591,"title":"Intuition","dimensions":"30 x 20 x 6 cm","date_begin":"1968-01-01","material":"wooden box, pencil (signed)","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEdition: unlimited, ca. 12000 pieces, signed and dated, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003ePublisher: Vice-Versand, Remscheid\u003c/p\u003e\r\n","date_end":null,"reference":"M00381","stream_count_app":38,"permalink":"intuition-staat-kochbuch","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eJede Kiste (von denen Tausende im Leben von Beuys angefertigt wurden) enth\u0026auml;lt einen Bleistiftschriftzug aus drei Linien. Die erste Linie bildet das Wort \u0026bdquo;Intuition\u0026ldquo;, darunter stehen zwei horizontale Linien. Die Linien stellen visuelle Repr\u0026auml;sentationen von Grund und Intuition dar. Die Kisten konnten per Postversand zu einem geringen Preis erworben werden. Somit ging der Wunsch von Beuys und seinem Herausgeber Wolfgang Feelisch, Kunst einem breiten Publikum zug\u0026auml;nglich zu machen, in Erf\u0026uuml;llung. Weder der Ma\u0026szlig;stab noch das Ziel des Multiples sind festgelegt \u0026ndash; sie dienen lediglich dazu, die Fantasie und die Kreativit\u0026auml;t ihrer Eigent\u0026uuml;mer anzuregen.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: unlimited, ca. 12000 pieces, signed and dated, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eVice-Versand, Remscheid\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":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/062/428/medium_500/Joseph_Beuys_Intuition_1968_collection_b.jpg?1601472532","cached_actor_names":"Joseph Beuys","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/000/062/428/large/Joseph_Beuys_Intuition_1968_collection_b.jpg?1601472532","poster_credits":"Photo: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eJoseph Beuys once stated \u0026ldquo;Modernism is not the answer\u0026rdquo;. \u003cem\u003eIntuition\u003c/em\u003e, is a multiple by the artist that reflected his belief that Western society, through modernisation, had suffered a deep splitting of rationality and intuition. As an artist who was anti-modern, Beuys felt that society had emphasised rationality in its culture, creativity, lifestyle, governance, economics and relationship to nature. Whereas, intuition, often seen as a (stereotypical) characteristic of the \u0026lsquo;East\u0026rsquo;, would enrich life, learning and creativity. He felt that this split that had taken place in Western mentality was a violent infliction, and sought to reconcile these two characteristics. His work \u003cem\u003eIntuition\u003c/em\u003e is a simple wooden box, onto the inside of which Beuys handwrote the word \u0026ldquo;Intuition\u0026rdquo; in pencil. The edition was intended as unlimited, and available for the price of 8 Deutschmarks. Beuys\u0026rsquo; offer of a box emulating a modernist object or sculpture for containing one\u0026rsquo;s intuition, was a call to reconnect with these latent capacities of human nature.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: unlimited, ca. 12000 pieces, signed and dated, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eVice-Versand, Remscheid\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eIn elke doos (waarvan er duizenden werden gemaakt in het leven van Beuys) staat een opschrift in potlood dat bestaat uit drie lijnen. De eerste lijn is het woord \u0026lsquo;Intuition\u0026rsquo; (intu\u0026iuml;tie), eronder staan twee horizontale lijnen. De lijnen zijn bedoeld als visuele representaties van reden en intu\u0026iuml;tie. De dozen konden aangekocht worden per postorder voor een lage prijs. Zo kwam de wens van Beuys en zijn uitgever Wolfgang Feelisch, om kunst toegankelijker te maken voor het grote publiek, in vervulling. Noch de schaal, noch het doel van de multipel is bepaald \u0026ndash; ze zijn enkel bedoeld om de verbeelding en de creativiteit van hun eigenaars te prikkelen.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: unlimited, ca. 12000 pieces, signed and dated, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eVice-Versand, Remscheid\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eChaque bo\u0026icirc;te (dont des milliers ont \u0026eacute;t\u0026eacute; cr\u0026eacute;\u0026eacute;s au cours de la vie de Beuys) a une inscription au crayon constitu\u0026eacute;e de trois lignes. La premi\u0026egrave;re ligne est le mot \u0026#39;Intuition\u0026#39;, sous lequel se trouvent deux lignes horizontales. Les lignes servent de repr\u0026eacute;sentations picturales de la raison et de l\u0026#39;intuition. Les bo\u0026icirc;tes pouvaient \u0026ecirc;tre achet\u0026eacute;es par correspondance \u0026agrave; bas prix, r\u0026eacute;pondant ainsi \u0026agrave; un voeu de Beuys et de son \u0026eacute;diteur Wolfgang Feelisch de rendre l\u0026#39;art plus accessible au grand public. Ni l\u0026#39;\u0026eacute;chelle, ni l\u0026#39;utilisation du multiple n\u0026#39;est d\u0026eacute;finie. Elles ont uniquement pour objectif de stimuler l\u0026#39;imagination et la cr\u0026eacute;ativit\u0026eacute; de leurs propri\u0026eacute;taires.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eEdition: unlimited, ca. 12000 pieces, signed and dated, not numbered\u003c/p\u003e\r\n\r\n\u003cp\u003eVice-Versand, Remscheid\u003c/p\u003e\r\n"}]},{"id":31143,"title":"Samurai Schwert [Samurai Sword]","dimensions":"9 x 54 cm","date_begin":"1983-01-01","material":"multiple of felt and steel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA, Antwerp","cached_tag_list":"sculpture","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK009174","stream_count_app":31,"permalink":"samurai-schwert-samurai-sword","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/000/085/776/medium_500/_WIM2266.jpg?1661177074","cached_actor_names":"Joseph Beuys","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/000/085/776/large/_WIM2266.jpg?1661177074","poster_credits":"©Joseph Beuys - photo: Wim Van Eesbeek","translations":[{"locale":"en","description":"\u003cp\u003eWithin the practice of Joseph Beuys \u0026ndash;\u0026nbsp;a key figure of the Post-War avant-garde \u0026ndash; Eurasia has a central place as a complex anthropological and philosophical concept. Describing himself as a Eurasian, Beuys used the term to problematise the artificial separation between \u0026lsquo;East\u0026rsquo; and \u0026lsquo;West\u0026rsquo;. He wanted to unite the ideologically divided Europe and at the same time re-link what he perceived as Asian intuition and spirituality with European realism and rationality. Eurasia for Beuys is an open space without physical or ideological boundaries, rather it was about freedom and creativity. His interest in Eurasia was also a way for Beuys to look away from America as a dominant force of modernity and hegemony.\u003c/p\u003e\r\n\r\n\u003cp\u003eHis \u003cem\u003eSamurai-Schwert \u003c/em\u003e(Samurai Sword)\u003cem\u003e \u003c/em\u003econsists of a length of steel wrapped in felt. This contrast in materials is typical of Beuys, bringing together hard and soft into union, as a way to talk about reconciliation of cultures. The Samurai sword was a recurring motif for Beuys as a symbol of Eurasia unity. The sword sometimes took the form of a blood sausage, melding an Asian weapon with a European food item. Beuys had in fact planned to place a samurai sword sausage monument on the coast of Ostend, selecting this location at the opposite pole of Eurasia to Japan, that also evokes the Second World War, seeking to heal wounds.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":31142,"title":"The Orwell Leg – Trousers for the 21st Century","dimensions":"","date_begin":null,"material":"Multiple of denim Jeans with holes cut in the knees","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK009092","stream_count_app":28,"permalink":"the-orwell-leg-trousers-for-the-21st-century","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/000/085/774/medium_500/_WIM2040crop.jpg?1661176246","cached_actor_names":"Joseph Beuys","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/000/085/774/large/_WIM2040crop.jpg?1661176246","poster_credits":"©Joseph Beuys. Photo: Wim Van Eesbeek","translations":[{"locale":"en","description":"\u003cp\u003eJoseph Beuys participated in Nam June Paik\u0026rsquo;s renowned satellite \u0026lsquo;installation\u0026rsquo; \u003cem\u003eGood Morning Mr. Orwell \u003c/em\u003eon New Year\u0026rsquo;s Day of 1984. An international event, Beuys undertook an action live from the Centre Pompidou in Paris, with two pianos, two Turkish pianists and his \u003cem\u003eThe Orwell Leg \u0026ndash;Trousers for the 21st Century\u003c/em\u003e. The trousers have a hole cut out of the front right-hand knee, and second hole cut out at the back of the left-hand knee. During the performance, he stated: \u003cem\u003e\u0026ldquo;This is the Orwell leg, trousers of the 21st century. Everybody in the world should make these trousers themselves, to struggle against world-wide materialism and repression especially on the young\u0026rdquo;\u003c/em\u003e. The trousers were to become another edition of Beuys, of which M HKA has one as part of its collection.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":33182,"title":"7000 eiken (Beuys \u0026 Uriburu)","dimensions":"10,5 x 14,9 cm","date_begin":"1982-01-01","material":"papier","short_description":"\u003cp\u003ePostcard,\u0026nbsp;Produktion der FREE INTERNATIONAL UNIVERSITY - FIU, Nr. 13 Magdalena Broska (Foto)\u003c/p\u003e\r\n\r\n\u003cp\u003eAn artist from Latin America, Uriburu was always sensitive to the exploitation of natural resources in underdeveloped countries for the sake of favourable economic relations with rich countries. With his \u0026quot;colourings\u0026quot; he wants to open people\u0026#39;s eyes, he uses mass meetings of the art world for visibility and does not shy away from collaborating with environmental organisations such as Greenpeace or with the first \u0026quot;Green\u0026quot; political parties. In 1981, he coloured the waters of the Rhine with Joseph Beuys. The action was part of a national day of protest against pollution, organised by the Green Party. The following year, Beuys invited the artist to join him in planting 7,000 oaks in Kassel on the occasion of Documenta 7.\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":113,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"M HKA archief","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"7000-eiken-beuys-uriburu","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003ePrentkaart,\u0026nbsp;Produktion der FREE INTERNATIONAL UNIVERSITY - FIU, Nr. 13 Magdalena Broska (Foto)\u003c/p\u003e\r\n\r\n\u003cp\u003eAls kunstenaar uit Latijns-Amerika was Uriburu altijd gevoelig voor de exploitatie van natuurlijke hulpbronnen in onderontwikkelde landen ten behoeve van gunstige economische betrekkingen met rijke landen. Met zijn \u0026#39;kleuringen\u0026#39; wil hij mensen de ogen openen, hij gebruikt massabijeenkomsten van de kunstwereld voor zichtbaarheid en schuwt geen samenwerkingen met milieuorganisaties zoals Greenpeace of met de eerste \u0026quot;Groene\u0026quot; politieke partijen. In 1981 kleurt hij samen met Joseph Beuys het water van de Rijn. De actie maakte deel uit van een nationale dag van protest tegen vervuiling, georganiseerd door de Groene Partij. Het jaar daarop nodigt Beuys de kunstenaar uit om samen met hem 7000 eiken te planten in Kassel ter gelegenheid van Documenta 7.\u0026nbsp;\u003c/p\u003e\r\n","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/086/978/medium_500/Uriburu_FIU_recto_-_Copy.jpg?1663250892","cached_actor_names":"Joseph Beuys, Nicolás Uriburu","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/086/978/large/Uriburu_FIU_recto_-_Copy.jpg?1663250892","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003ePostcard,\u0026nbsp;Produktion der FREE INTERNATIONAL UNIVERSITY - FIU, Nr. 13 Magdalena Broska (Foto)\u003c/p\u003e\r\n\r\n\u003cp\u003eAn artist from Latin America, Uriburu was always sensitive to the exploitation of natural resources in underdeveloped countries for the sake of favourable economic relations with rich countries. With his \u0026quot;colourings\u0026quot; he wants to open people\u0026#39;s eyes, he uses mass meetings of the art world for visibility and does not shy away from collaborating with environmental organisations such as Greenpeace or with the first \u0026quot;Green\u0026quot; political parties. In 1981, he coloured the waters of the Rhine with Joseph Beuys. The action was part of a national day of protest against pollution, organised by the Green Party. The following year, Beuys invited the artist to join him in planting 7,000 oaks in Kassel on the occasion of Documenta 7.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003ePrentkaart,\u0026nbsp;Produktion der FREE INTERNATIONAL UNIVERSITY - FIU, Nr. 13 Magdalena Broska (Foto)\u003c/p\u003e\r\n\r\n\u003cp\u003eAls kunstenaar uit Latijns-Amerika was Uriburu altijd gevoelig voor de exploitatie van natuurlijke hulpbronnen in onderontwikkelde landen ten behoeve van gunstige economische betrekkingen met rijke landen. Met zijn \u0026#39;kleuringen\u0026#39; wil hij mensen de ogen openen, hij gebruikt massabijeenkomsten van de kunstwereld voor zichtbaarheid en schuwt geen samenwerkingen met milieuorganisaties zoals Greenpeace of met de eerste \u0026quot;Groene\u0026quot; politieke partijen. In 1981 kleurt hij samen met Joseph Beuys het water van de Rijn. De actie maakte deel uit van een nationale dag van protest tegen vervuiling, georganiseerd door de Groene Partij. Het jaar daarop nodigt Beuys de kunstenaar uit om samen met hem 7000 eiken te planten in Kassel ter gelegenheid van Documenta 7.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":33620,"title":"Rhein Water Poluted (sic)","dimensions":"28 x ⌀ 7.5 cm","date_begin":"1981-01-01","material":"Fles met gekleurd Rijnwater ","short_description":"\u003cp\u003eAn artist from Latin America, Uriburu was always sensitive to the exploitation of natural resources in underdeveloped countries for the sake of favourable economic relations with rich countries. With his \u0026quot;colourings\u0026quot; he wants to open people\u0026#39;s eyes, he uses mass meetings of the art world for visibility and does not shy away from collaborating with environmental organisations such as Greenpeace or with the first \u0026quot;Green\u0026quot; political parties. In 1981, he coloured the waters of the Rhine with Joseph Beuys. The action was part of a national day of protest against pollution, organised by the Green Party. The following year, Beuys invited the artist to join him in planting 7,000 oaks in Kassel on the occasion of Documenta 7.\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collectie M HKA, Antwerpen / Collectie Vlaamse Gemeenschap","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK009540","stream_count_app":14,"permalink":"rhein-water-poluted-h2o-10-000-poisons-green-coloration-dusseldorf-9-28-1981","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eAls kunstenaar uit Latijns-Amerika was Uriburu altijd gevoelig voor de exploitatie van natuurlijke hulpbronnen in onderontwikkelde landen ten behoeve van gunstige economische betrekkingen met rijke landen. Met zijn \u0026#39;kleuringen\u0026#39; wil hij mensen de ogen openen, hij gebruikt massabijeenkomsten van de kunstwereld voor zichtbaarheid en schuwt geen samenwerkingen met milieuorganisaties zoals Greenpeace of met de eerste \u0026quot;Groene\u0026quot; politieke partijen. In 1981 kleurt hij samen met Joseph Beuys het water van de Rijn. De actie maakte deel uit van een nationale dag van protest tegen vervuiling, georganiseerd door de Groene Partij. Het jaar daarop nodigt Beuys de kunstenaar uit om samen met hem 7000 eiken te planten in Kassel ter gelegenheid van Documenta 7.\u0026nbsp;\u003c/p\u003e\r\n","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/893/medium_500/Uriburu_bottle.jpg?1664889956","cached_actor_names":"Nicolás Uriburu, Joseph Beuys","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/000/087/893/large/Uriburu_bottle.jpg?1664889956","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eAn artist from Latin America, Uriburu was always sensitive to the exploitation of natural resources in underdeveloped countries for the sake of favourable economic relations with rich countries. With his \u0026quot;colourings\u0026quot; he wants to open people\u0026#39;s eyes, he uses mass meetings of the art world for visibility and does not shy away from collaborating with environmental organisations such as Greenpeace or with the first \u0026quot;Green\u0026quot; political parties. In 1981, he coloured the waters of the Rhine with Joseph Beuys. The action was part of a national day of protest against pollution, organised by the Green Party. The following year, Beuys invited the artist to join him in planting 7,000 oaks in Kassel on the occasion of Documenta 7.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align:justify\"\u003eNa gelijkaardige acties in Parijs, Veneti\u0026euml; en New York, kleurde Nicolas Uriburu in 1981 samen met Joseph Beuys het water van de Rijn. De actie demonstreerde zijn bekommernis om het milieu. Ze maakte deel uit van een nationale dag van protest tegen vervuiling, georganiseerd door de Groene Partij. Er was initieel gepland dat de actie zou plaatsvinden in Keulen, maar daar werd ze geschrapt wegens protest van het lokale bestuur.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003eNadat de kunstenaar de krachten bundelde met Joseph Beuys vond de actie dus plaats in D\u0026uuml;sseldorf,\u0026nbsp; en werd ze bekend als de zogenaamde \u003cem\u003eRhein-Aktion\u003c/em\u003e. Ze werd gevolgd door een tentoonstelling van beelden, tekeningen en documentatie van de actie, waarbij deze multiple \u003cem\u003eRhein Water Poluted\u003c/em\u003e [sic] werd uitgegeven. Het jaar daarop nodigde Beuys de kunstenaar uit om samen met hem 7000 eiken te planten in Kassel ter gelegenheid van Documenta 7.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align:justify\"\u003eHet werk is een fles met gekleurd water, waarop een label is gekleefd. Het water was oorspronkelijk groen gekleurd, maar vandaag oogt het eerder roestkleurig. Op het label is volgende tekst getypt: \u0026#39;Rhein Water Poluted, H2O + 10.000 Poisons. Green Coloration, D\u0026uuml;sseldorf 9-28-1981\u0026#39;, ondertekend door beide kunstenaars. Tijdens de tentoonstelling \u003cem\u003eMuseum in beweging\u003c/em\u003e (M HKA, 2022) werd een ander exemplaar van deze editie getoond.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":17040,"title":"Joseph Beuys - Greetings from the Eurasian","dimensions":"28.6 x 20 cm, 141 p., language : English, publisher : Museum van Hedendaagse Kunst Antwerpen/Koenig Books London, ISBN : 978-3-96098-264-7","date_begin":"2017-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2028/905","stream_count_app":11,"permalink":"joseph-beuys-greetings-from-the-eurasian","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":"Joseph Beuys","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/000/037/836/large/20171025145055768_0002.jpg?1508940349","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eEditor : Antony Hudek.\u003c/p\u003e\r\n\r\n\u003cp\u003eContributions (Texts, Interviews, Conversations, Letters) by Jean-Philippe Antoine, Lotte Beckw\u0026eacute;, Joseph Beuys, Marcel Broodthaers, Henning Christiansen, Bart De Baere, Anny De Decker, Cl\u0026eacute;mentine Deliss, Helmut Draxler, Isi Fiszman, Nav Haq, Antony Hudek, Nam June Paik, Johan Pas, Franz Joseph van der Grinten \u0026amp; Wim Van Mulders.\u003c/p\u003e\r\n\r\n\u003cp\u003eAvailable in the M HKA Bookshop.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]}]