[{"id":4852,"title":"190 # 2","dimensions":"100 x 150 cm","date_begin":"2004-01-01","material":"oil, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0390","stream_count_app":25,"permalink":"190-2","description_ru":"","description_de":"\u003cp\u003eVan den Broek wurde vor allem bekannt f\u0026uuml;r seine desorientierenden Leinw\u0026auml;nde von Stra\u0026szlig;enr\u0026auml;ndern, Fu\u0026szlig;wegen, Rinnen und anderen \u0026bdquo;horizontalen\u0026ldquo; Begrenzungen und Grenzgebieten. Obwohl sie der banalen allt\u0026auml;glichen Wirklichkeit entlehnt sind, neigen diese Leinw\u0026auml;nde unvermeidlich zu einer hierarischen Abstraktion. Das figurative Residuum schimmert in einer Reihe verwandter Arbeiten expliziter durch, von denen das Museum zwei Beispiel erwarb (eine Schenkung des K\u0026uuml;nstlers): Close-ups von einem ausgetrockneten St\u0026uuml;ck Land, oder eine durch tiefe Risse zerrissene Stra\u0026szlig;enfl\u0026auml;che. Die Perspektive mag sich \u0026auml;ndern, aber in seinen Werken \u0026bdquo;190#1\u0026ldquo; und \u0026bdquo;190#2\u0026ldquo; (beide aus dem Jahr 2004) bleibt Van den Broek dem strukturellen Leitmotiv treu: dass vom Boden sich die Welt, die wir bewohnen und navigieren, erhebt.\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":null,"cached_actor_names":"Koen van den Broek","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/000/008/566/large/Broek__Koen_Van_den__190__2__2004.JPG?1334238828","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eVan den Broek mainly became known for his disorienting canvases of roadsides, sidewalks, gutters and other \u0026lsquo;horizontal\u0026rsquo; boundaries and border areas. And while they are taken from the most banal of everyday reality, these canvases inevitably tend towards a hieratic abstraction. The figurative residue shimmers through even more explicitly in a series of related works, two examples of which have been acquired by the museum (one a gift of the artist): close-ups of a parched piece of land, or a road surface ridden by deep cracks. Maybe the perspective changes, but in his works \u0026lsquo;190#1\u0026rsquo; and \u0026lsquo;190#2\u0026rsquo; (both from 2004), Van den Broek remains true to the structural leitmotif in his oeuvre: that of the ground from which the world that we inhabit and navigate, arises.\u003c/p\u003e\r\n\r\n\u003cp\u003eKnow more? Click\u0026nbsp;\u003ca href=\"http://www.koenvandenbroek.org/\"\u003ehere\u003c/a\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eVan den Broek werd vooral bekend met zijn desori\u0026euml;nterende doeken van bermen, trottoirs, goten en andere \u0026lsquo;horizontale\u0026rsquo; begrenzingen en grensgebieden; hoewel ze aan een zeer banale dagelijkse werkelijkheid zijn ontleend, neigen deze doeken onvermijdelijk naar een hi\u0026euml;ratische abstractie. Het figuratieve residu schemert explicieter door in een reeks hieraan verwante werken, waarvan het museum twee voorbeelden verwierf, \u0026eacute;\u0026eacute;n door een schenking van de kunstenaar zelf: close-ups van een uitgedroogd lapje grond, of een door diepe barsten verscheurd wegoppervlak. Het perspectief mag dan nog veranderen, Van den Broek blijft in \u003cem\u003e190#1\u003c/em\u003e\u0026nbsp;en\u003cem\u003e 190#2\u003c/em\u003e\u0026nbsp;(allebei uit 2004) trouw aan het structurele leitmotief in zijn oeuvre: dat van de grond waarop de wereld, die wij bewonen en navigeren, verrijst.\u003c/p\u003e\r\n\r\n\u003cp\u003eMeer weten?\u0026nbsp;\u0026nbsp;Klik \u003ca href=\"http://www.koenvandenbroek.org/\"\u003ehier\u003c/a\u003e.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eVan den Broek a principalement acquis la notori\u0026eacute;t\u0026eacute; pour ses canevas d\u0026eacute;sorientants de bords de route, de trottoirs, de goutti\u0026egrave;res et autres fronti\u0026egrave;res \u0026#39;horizontales\u0026#39; et zones frontali\u0026egrave;res. Et tandis qu\u0026#39;ils sont tir\u0026eacute;s de la r\u0026eacute;alit\u0026eacute; quotidienne la plus banale, ces canevas tendent in\u0026eacute;vitablement \u0026agrave; une abstraction hi\u0026eacute;ratique. Le r\u0026eacute;sidu figuratif miroite encore plus explicitement dans une s\u0026eacute;rie d\u0026#39;oeuvres li\u0026eacute;es, dont deux exemples ont \u0026eacute;t\u0026eacute; acquis par le mus\u0026eacute;e (l\u0026#39;un est un don de l\u0026#39;artiste) : gros plans sur un bout de terre parchemin\u0026eacute; ou la surface d\u0026#39;une route parcourue de profondes fissures. Peut-\u0026ecirc;tre que le point de vue change mais dans ses oeuvres \u0026lsquo;190#1\u0026rsquo; et \u0026lsquo;190#2\u0026rsquo; (qui datent toutes deux de 2004), Van den Broek demeure fid\u0026egrave;le au leitmotiv structurel de son oeuvre : celui de la terre d\u0026#39;o\u0026ugrave; na\u0026icirc;t le monde dans lequel nous vivons et naviguons.\u003c/p\u003e\r\n\r\n\u003cp\u003eSavoir plus? Clicquez \u003ca href=\"http://www.koenvandenbroek.org/\"\u003eici\u003c/a\u003e.\u003c/p\u003e\r\n"}]},{"id":488,"title":"Orange Border","dimensions":"165 x 110 cm","date_begin":"2001-01-01","material":"oil, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"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":"2001-01-01","reference":"BK7659_M420","stream_count_app":24,"permalink":"orange-border","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":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/946/large/Broeck,%20Koen,%20%20Van%20den,%20Orange%20Border,%202001%20photo%20M%20HKLAclinckx.jpg?1303993761","poster_credits":"©image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eDetails, inconspicuous elements from our environment \u0026ndash; cracks in the road or sidewalk \u0026ndash; are central to the paintings of Koen Van den Broek. He renders them in a clear, descriptive manner. Still, the motifs are depicted in such a way that the focus is not immediately clear, or shifts. The paintings balance on the border of abstraction and figuration. Sometimes the title offers an answer, like the case here with \u003cem\u003eOrange border\u003c/em\u003e, while in other cases the title lacks a concrete interpretation.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDetails, onopvallende elementen uit onze omgeving - barsten in het wegdek of stoepranden - staan centraal in de schilderijen van Koen Van den Broek. Hij geeft ze op een heldere, descriptieve manier weer. Toch worden de motieven zo in beeld gebracht dat de focus niet onmiddellijk duidelijk is of kantelt. De schilderijen balanceren op de grens van abstractie en figuratie. Soms biedt de titel een antwoord, zoals hier bij \u003cem\u003eOrange border\u003c/em\u003e, soms ontbreekt de concrete duiding in de titel.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLes d\u0026eacute;tails, les \u0026eacute;l\u0026eacute;ments discrets de notre environnement (fissures dans le rev\u0026ecirc;tement ou les bordures de trottoir) occupent une place centrale dans les peintures de Koen Van den Broek. Il les reproduit de mani\u0026egrave;re claire et descriptive. Toutefois, les motifs sont mis en image de telle mani\u0026egrave;re que la focalisation n\u0026#39;est pas claire imm\u0026eacute;diatement ou bascule. Les peintures oscillent \u0026agrave; la fronti\u0026egrave;re entre l\u0026#39;abstraction et la figuration. Parfois le titre offre une r\u0026eacute;ponse, comme ici avec \u003cem\u003eOrange border\u003c/em\u003e, parfois il manque une explication concr\u0026egrave;te dans le titre.\u003c/p\u003e\r\n"}]},{"id":7429,"title":"Madonna","dimensions":"93.5 x 85.5 cm ","date_begin":"2010-01-01","material":"oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":182,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"Fouquet Koen van den Broek","publishing_process_id":1,"annotation":"\u003cp\u003eIn 2013 tenslotte verwierf het M HKA een schilderij van Van den Broek naar Jean Fouquets Madonna omringd door serafijnen en cherubijnen uit 1452. Het beeld van Koen van den Broek was het icoonbeeld van de tentoonstelling \u0026lsquo;Meesters in het MAS\u0026rsquo; en het begeleidende boek Beelddenken. Vijf eeuwen beeld in Antwerpen, waarin het beelddenken uit de negentiende eeuw wordt gethematiseerd.\u003c/p\u003e\r\n\r\n\u003cp\u003eAquisition on behalf of the Flemish Comunity. Painting with a clear reference to Jean Fouquet\u0026rsquo;s 1452 painting Madonna.\u003c/p\u003e\r\n","date_end":null,"reference":"BK7803_M507","stream_count_app":60,"permalink":"madonna","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eMit \u003cem\u003eMadonna\u003c/em\u003e zeigt Koen van den Broek seine Affinit\u0026auml;t zur klassischen Malerei. Van den Broek hat dieses Gem\u0026auml;lde urspr\u0026uuml;nglich f\u0026uuml;r die Ausstellung \u003cem\u003eMeesterwerken in het MAS \u003c/em\u003e(dt. Meisterwerke im MAS) in dem Antwerpener Museum Aan de Stroom (dt. Museum am Strom) konzipiert. In dem Gem\u0026auml;lde verweist er auf das Werk \u003cem\u003eMadonna und Jesus, umringt von Serafim und Cherubim \u003c/em\u003evon Jean Fouquet 1452. Fouquet\u0026rsquo;s Farbverwendung und kompositionale Einteilung finden in der Tat Resonanz in Van den Broecks \u003cem\u003eMadonna\u003c/em\u003e, aber die teilweise Abstraktion ist dann schon wieder typisch f\u0026uuml;r Koen van den Broek. Dieses Bild war das ikonische Bild der Ausstellung \u003cem\u003eMeisterwerke im MAS\u003c/em\u003e und des Begleitbuches \u003cem\u003eBeelddenken. Vijf eeuwen beeld in Antwerpen. \u003c/em\u003e(dt. Bilddenken. F\u0026uuml;nf Jahrhunderte Bild in Antwerpen), indem das Bilddenken aus den 19. Jahrhundert thematisiert wird.\u003c/p\u003e\r\n","description_es":"","description_el":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eGR\u003c/strong\u003e -\u0026nbsp;\u0026Mu;\u0026epsilon; \u0026tau;\u0026eta; \u003cem\u003eMadonna\u003c/em\u003e [\u0026Pi;\u0026alpha;\u0026nu;\u0026alpha;\u0026gamma;ί\u0026alpha;], \u0026omicron; \u0026Kappa;\u0026omicron;\u0026upsilon;\u0026nu; \u0026beta;\u0026alpha;\u0026nu; \u0026nu;\u0026tau;\u0026epsilon;\u0026nu; \u0026Mu;\u0026pi;\u0026rho;\u0026omicron;\u0026upsilon;\u0026kappa; \u0026epsilon;\u0026kappa;\u0026phi;\u0026rho;ά\u0026zeta;\u0026epsilon;\u0026iota; \u0026tau;\u0026eta; \u0026beta;\u0026alpha;\u0026theta;\u0026iota;ά \u0026sigma;\u0026chi;έ\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026mu;\u0026epsilon; \u0026tau;\u0026eta;\u0026nu; \u0026kappa;\u0026lambda;\u0026alpha;\u0026sigma;\u0026iota;\u0026kappa;ή \u0026zeta;\u0026omega;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;\u0026iota;\u0026kappa;ή. \u0026Omicron; \u0026kappa;\u0026alpha;\u0026lambda;\u0026lambda;\u0026iota;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigmaf; \u0026phi;\u0026iota;\u0026lambda;\u0026omicron;\u0026tau;έ\u0026chi;\u0026nu;\u0026eta;\u0026sigma;\u0026epsilon; \u0026alpha;\u0026upsilon;\u0026tau;ό \u0026tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026gamma;\u0026iota;\u0026alpha; \u0026tau;\u0026eta;\u0026nu; έ\u0026kappa;\u0026theta;\u0026epsilon;\u0026sigma;\u0026eta; \u003cem\u003eMasterpieces in the MAS \u003c/em\u003e[\u0026Alpha;\u0026rho;\u0026iota;\u0026sigma;\u0026tau;\u0026omicron;\u0026upsilon;\u0026rho;\u0026gamma;ή\u0026mu;\u0026alpha;\u0026tau;\u0026alpha; \u0026sigma;\u0026tau;\u0026omicron; MAS]\u0026nbsp;\u0026sigma;\u0026tau;\u0026omicron; Museum Aan de Stroom \u0026tau;\u0026eta;\u0026sigmaf; \u0026Alpha;\u0026mu;\u0026beta;έ\u0026rho;\u0026sigma;\u0026alpha;\u0026sigmaf;. \u0026Epsilon;\u0026delta;ώ, \u0026gamma;ί\u0026nu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026sigma;\u0026alpha;\u0026phi;ή\u0026sigmaf; \u0026alpha;\u0026nu;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;ά \u0026sigma;\u0026tau;\u0026omicron; έ\u0026rho;\u0026gamma;\u0026omicron; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Zeta;\u0026alpha;\u0026nu; \u0026Phi;\u0026omicron;\u0026upsilon;\u0026kappa;έ, \u003cem\u003e\u0026Pi;\u0026alpha;\u0026rho;\u0026theta;έ\u0026nu;\u0026omicron;\u0026sigmaf; \u0026epsilon;\u0026nu; \u0026mu;έ\u0026sigma;\u0026omega; \u0026Sigma;\u0026epsilon;\u0026rho;\u0026alpha;\u0026phi;\u0026epsilon;ί\u0026mu; \u0026kappa;\u0026alpha;\u0026iota; \u0026Chi;\u0026epsilon;\u0026rho;\u0026omicron;\u0026upsilon;\u0026beta;\u0026epsilon;ί\u0026mu; \u003c/em\u003e\u003cem\u003e(\u003c/em\u003e1452). \u0026Eta; \u0026chi;\u0026rho;ή\u0026sigma;\u0026eta; \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron;\u0026nu; \u0026Phi;\u0026omicron;\u0026upsilon;\u0026kappa;έ \u0026tau;\u0026omicron;\u0026upsilon; \u0026chi;\u0026rho;ώ\u0026mu;\u0026alpha;\u0026tau;\u0026omicron;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026eta;\u0026sigmaf; \u0026sigma;\u0026upsilon;\u0026nu;\u0026theta;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026delta;\u0026iota;ά\u0026tau;\u0026alpha;\u0026xi;\u0026eta;\u0026sigmaf; \u0026pi;\u0026rho;ά\u0026gamma;\u0026mu;\u0026alpha;\u0026tau;\u0026iota; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026pi;\u0026alpha;\u0026rho;\u0026omicron;ύ\u0026sigma;\u0026alpha; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026Pi;\u0026alpha;\u0026nu;\u0026alpha;\u0026gamma;ί\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Beta;\u0026alpha;\u0026nu; \u0026nu;\u0026tau;\u0026epsilon;\u0026nu; \u0026Mu;\u0026pi;\u0026rho;\u0026omicron;\u0026upsilon;\u0026kappa;, \u0026eta; \u0026sigma;\u0026chi;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ά \u0026alpha;\u0026phi;\u0026alpha;\u0026iota;\u0026rho;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ή \u0026epsilon;\u0026rho;\u0026mu;\u0026eta;\u0026nu;\u0026epsilon;ί\u0026alpha;, ό\u0026mu;\u0026omega;\u0026sigmaf;, \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026gamma;\u0026epsilon;\u0026nu;\u0026iota;\u0026kappa;ά \u0026chi;\u0026alpha;\u0026rho;\u0026alpha;\u0026kappa;\u0026tau;\u0026eta;\u0026rho;\u0026iota;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ή \u0026tau;\u0026omicron;\u0026upsilon; έ\u0026rho;\u0026gamma;\u0026omicron;\u0026upsilon; \u0026tau;\u0026omicron;\u0026upsilon; \u0026Kappa;\u0026omicron;\u0026upsilon;\u0026nu; \u0026beta;\u0026alpha;\u0026nu; \u0026nu;\u0026tau;\u0026epsilon;\u0026nu; \u0026Mu;\u0026pi;\u0026rho;\u0026omicron;\u0026upsilon;\u0026kappa;. \u0026Eta; \u0026epsilon;\u0026mu;\u0026beta;\u0026lambda;\u0026eta;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ή \u0026alpha;\u0026upsilon;\u0026tau;ή \u0026epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026alpha; \u0026gamma;\u0026iota;\u0026alpha; \u0026tau;\u0026eta;\u0026nu; έ\u0026kappa;\u0026theta;\u0026epsilon;\u0026sigma;\u0026eta; \u0026Alpha;\u0026rho;\u0026iota;\u0026sigma;\u0026tau;\u0026omicron;\u0026upsilon;\u0026rho;\u0026gamma;ή\u0026mu;\u0026alpha;\u0026tau;\u0026alpha; \u0026sigma;\u0026tau;\u0026omicron; MAS\u0026nbsp;\u0026kappa;\u0026alpha;\u0026iota; \u0026tau;\u0026omicron;\u0026nu; \u0026sigma;\u0026upsilon;\u0026nu;\u0026omicron;\u0026delta;\u0026epsilon;\u0026upsilon;\u0026tau;\u0026iota;\u0026kappa;ό \u0026tau;\u0026eta;\u0026sigmaf; \u0026kappa;\u0026alpha;\u0026tau;ά\u0026lambda;\u0026omicron;\u0026gamma;\u0026omicron; \u003cem\u003eVisual Thinking. Five Centuries of Images in Antwerp\u003c/em\u003e [\u0026Omicron;\u0026pi;\u0026tau;\u0026iota;\u0026kappa;ή \u0026sigma;\u0026kappa;έ\u0026psi;\u0026eta;. \u0026Pi;έ\u0026nu;\u0026tau;\u0026epsilon; \u0026Alpha;\u0026iota;ώ\u0026nu;\u0026epsilon;\u0026sigmaf; \u0026Epsilon;\u0026iota;\u0026kappa;ό\u0026nu;\u0026omega;\u0026nu; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026Alpha;\u0026mu;\u0026beta;έ\u0026rho;\u0026sigma;\u0026alpha;] \u0026sigma;\u0026tau;\u0026omicron;\u0026chi;ά\u0026zeta;\u0026epsilon;\u0026tau;\u0026alpha;\u0026iota; \u0026pi;ά\u0026nu;\u0026omega; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026pi;\u0026alpha;\u0026rho;ά\u0026delta;\u0026omicron;\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; 16\u0026omicron;\u0026upsilon; \u0026kappa;\u0026alpha;\u0026iota; 17\u0026omicron;\u0026upsilon; \u0026alpha;\u0026iota;ώ\u0026nu;\u0026alpha; \u0026mu;έ\u0026sigma;\u0026alpha; \u0026alpha;\u0026pi;ό \u0026tau;\u0026omicron; \u0026pi;\u0026rho;ί\u0026sigma;\u0026mu;\u0026alpha; \u0026tau;\u0026eta;\u0026sigmaf; \u0026sigma;ύ\u0026gamma;\u0026chi;\u0026rho;\u0026omicron;\u0026nu;\u0026eta;\u0026sigmaf; \u0026epsilon;\u0026iota;\u0026kappa;\u0026alpha;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ή\u0026sigmaf; \u0026alpha;\u0026nu;\u0026tau;ί\u0026lambda;\u0026eta;\u0026psi;\u0026eta;\u0026sigmaf;.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u0026nbsp;\u003c/p\u003e\r\n","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Koen van den Broek","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/000/016/964/large/MadonnaHighRes.jpg?1369985826","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eWith \u003cem\u003eMadonna\u003c/em\u003e, Koen van den Broek demonstrates his affinity with classical painting.Van den Broek originally made this painting for the exhibition \u003cem\u003eMasterpieces in the MAS\u003c/em\u003e\u0026nbsp;at Antwerp\u0026rsquo;s Museum Aan de Stroom. Here, the clear reference is to Jean Fouquet\u0026rsquo;s 1452 painting \u003ca href=\"http://www.kmska.be/nl/collectie/highlights/Madonna.html\"\u003e\u003cem\u003eMadonna surrounded by Seraphim and Cherubim\u003c/em\u003e\u003c/a\u003e. Fouquet\u0026rsquo;s use of color and compositional division indeed find echoes in Van den Broek\u0026rsquo;s \u003cem\u003eMadonna\u003c/em\u003e, but the in-part abstracted execution is typical for Koen van den Broek\u0026rsquo;s oeuvre. This iconic image for the exhibition \u003cem\u003eMasterpieces in the MAS\u0026nbsp;\u003c/em\u003eand the accompanying book \u003cem\u003eVisual Thinking. Five Centuries of Images in Antwerp\u003c/em\u003e, wherein visual thinking from the 19th century is thematised.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eMet \u003cem\u003eMadonna\u003c/em\u003e\u0026nbsp;toont Koen van den Broek zijn affiniteit voor klassieke schilderkunst. Van den Broek maakte dit schilderij oorspronkelijk voor de tentoonstelling \u003cem\u003eMeesterwerken in het MAS\u003c/em\u003e\u0026nbsp;in het Museum Aan de Stroom te Antwerpen. In het schilderij verwijst hij naar het werk \u003ca href=\"http://www.kmska.be/nl/collectie/highlights/Madonna.html\"\u003e\u003cem\u003eMadonna omringd door serafijnen en cherubijnen\u003c/em\u003e\u003c/a\u003e\u0026nbsp;van Jean Fouquet uit 1452. Fouquet\u0026#39;s kleurgebruik en compositionele indeling vinden inderdaad weerklank in Van den Broeks \u003cem\u003eMadonna\u003c/em\u003e, maar de gedeeltelijke abstractie is dan wel weer typisch Koen van den Broek. Het beeld van Koen van den Broek was het icoonbeeld van de tentoonstelling \u003cem\u003eMeesterwerken in het MAS\u003c/em\u003e\u0026nbsp;en het begeleidende boek \u003cem\u003eBeelddenken. Vijf eeuwen beeld in Antwerpen\u003c/em\u003e, waarin het beelddenken uit de negentiende eeuw wordt gethematiseerd.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eAvec \u003cem\u003eMadone\u003c/em\u003e, Koen van den Broek montre son affinit\u0026eacute; pour la peinture classique. Initialement, Van den Broek a fait cette peinture pour l\u0026rsquo;exposition \u003cem\u003eMeesterwerken in het MAS (Chef d\u0026rsquo;\u0026oelig;uvres au MAS) \u003c/em\u003edans le Museum Aan de Stroom \u0026agrave; Anvers. Dans la peinture, il renvoie \u0026agrave; l\u0026rsquo;\u0026oelig;uvre \u003cem\u003eMadone entour\u0026eacute;e de s\u0026eacute;raphins et de ch\u0026eacute;rubins\u003c/em\u003e de Jean Fouquet datant de 1452. L\u0026rsquo;utilisation de couleurs et la composition de Fouquet peuvent effectivement \u0026ecirc;tre retrouv\u0026eacute;es dans \u003cem\u003eMadone \u003c/em\u003ede Van den broek, mais l\u0026rsquo;abstraction partielle par contre, est typique de Koen van den Broek. L\u0026rsquo;image de Koen van den Broek \u0026eacute;tait l\u0026rsquo;ic\u0026ocirc;ne de l\u0026rsquo;exposition \u003cem\u003eMeesterwerken in het MAS (Chefs d\u0026rsquo;\u0026oelig;uvres au MAS)\u003c/em\u003e et du livre d\u0026rsquo;accompagnement \u003cem\u003ePens\u0026eacute;e visuelle. Cinq si\u0026egrave;cles d\u0026rsquo;images \u0026agrave; Anvers, \u003c/em\u003eayant pris la pens\u0026eacute;e visuelle du 19\u003csup\u003e\u0026egrave;me\u003c/sup\u003e si\u0026egrave;cle \u003cem\u003ecomme th\u0026egrave;me.\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":14294,"title":"Requiem","dimensions":"210 x 140 cm","date_begin":"2015-01-01","material":"oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Studio Koen van den Broek, Merksem","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"requim","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/617/large/8ed73841e7116dd836f92205ea128e4c.jpg?1469188083","poster_credits":"(c)photo: Studio Koen van den Broek, Merksem","translations":[{"locale":"en","description":"\u003cp\u003eA shadow throws itself theatrically across the canvas. This abstract, yet organic-looking work draws on a photograph of an agricultural machine. By selectively highlighting shapes and lines, there is a transformation that speaks to the imagination. Our minds model a monster with the few elements available. Koen van den Broek refers to \u003ci\u003eEdward Scissorhands\u003c/i\u003e from the movie by Tim Burton, the unworldly figure who does not pose a real threat, but whose dark appearance frightens the viewer. Koen van den Broek made this work with the ballet production \u003ci\u003eEast\u003c/i\u003e in mind, as well as Faur\u0026eacute;\u0026#39;s \u003ci\u003eRequiem\u003c/i\u003e. As a production image, this canvas was eventually replaced by the less abstract and highly symbolic \u003ci\u003eTrona\u003c/i\u003e from 2006.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEen schaduw werpt zich theatraal over het doek. Aan de basis van dit abstract doch organisch ogend werk ligt een foto van een landbouwmachine. Door het selectief accentueren van vormen en lijnen, vindt er een transformatie plaats die tot de verbeelding spreekt. Onze geest boetseert met de weinige elementen een monster. Koen van den Broek refereert aan \u003ci\u003eEdward Scissorhands\u003c/i\u003e uit de gelijknamige film van Tim Burton. De wereldvreemde figuur waar geen re\u0026euml;le dreiging van uit gaat, maar wiens duistere uitstraling de toeschouwer beangstigt. Koen van den Broek maakte dit werk met de balletproductie \u003ci\u003eEast \u003c/i\u003evoor ogen, met onder andere Faur\u0026eacute;\u0026rsquo;s \u003ci\u003eRequiem\u003c/i\u003e. Dit doek werd als productiebeeld uiteindelijk vervangen door het minder abstracte en sterk symbolische \u003ci\u003eTrona\u003c/i\u003e uit 2006.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eUne ombre se jette th\u0026eacute;\u0026acirc;tralement sur la toile. A la base de cette \u0026oelig;uvre abstraite, pourtant organique, il y a une photo d\u0026rsquo;une machine agriculturale. En accentuant s\u0026eacute;lectivement des formes et des lignes, il y a une transformation qui parle \u0026agrave; l\u0026rsquo;imagination. Notre \u0026acirc;me fa\u0026ccedil;onne un monstre avec les peu d\u0026rsquo;\u0026eacute;l\u0026eacute;ments. Koen van den Broek r\u0026eacute;f\u0026egrave;re \u0026agrave; \u003cem\u003eEdward Scissorhands\u003c/em\u003e du film avec le m\u0026ecirc;me titre de Tim Burton. La figure \u0026eacute;loign\u0026eacute;e de la r\u0026eacute;alit\u0026eacute; d\u0026rsquo;o\u0026ugrave; aucune menace r\u0026eacute;elle n\u0026rsquo;en sort, mais dont l\u0026rsquo;aspect sombre fait peur au spectateur. Koen van den Broek a fait cette \u0026oelig;uvre en pensant \u0026agrave; la production de ballet \u003cem\u003eEast\u003c/em\u003e, avec entre autres \u003cem\u003eRequiem\u003c/em\u003e de Faur\u0026eacute;. Cette toile a finalement \u0026eacute;t\u0026eacute; remplac\u0026eacute;e comme image de production par \u003cem\u003eTrona\u003c/em\u003e de 2006, moins abstrait et fortement symbolique.\u003c/p\u003e\r\n"}]},{"id":14296,"title":"Louis Kahn","dimensions":"165 x 110 cm","date_begin":"2014-01-01","material":"oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"louis-kahn","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/619/large/SADKO_%28LouisKahn_2014_165x110cm%29_%28c%29KoenvandenBroek_web.jpg?1469188452","poster_credits":"(c)photo: Studio Koen van den Broek, Merksem","translations":[{"locale":"en","description":"\u003cp\u003eSan Diego: we stand before the Salt Lake Institute, a major centre for stem cell research, housed in a beautiful building by the American star architect Louis Kahn. The building itself is not visible. Koen van den Broek photographs the shadow play. He falls for the beauty of the simple trough that splits the square symmetrically in two and that allows water to flow into the ocean over a long distance: a reference to the Yellow borders that are a theme in the work of Koen van den Broek. The link with Rimsky-Korsakov\u0026#39;s opera \u003ci\u003eSadko\u003c/i\u003e is in the suspected presence of a port, and the main character\u0026rsquo;s relentless quest for a way across the water to find a connection with the mainland.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eSan Diego: we staan voor het Salt Lake Institute, een belangrijk centrum voor stamcelonderzoek, ondergebracht in een prachtig gebouw van de Amerikaanse toparchitect Louis Kahn. Het gebouw zelf is niet zichtbaar. Koen van den Broek fotografeert het schaduwspel. Hij valt voor de schoonheid van de simpele goot die het plein symmetrisch in twee delen splijt en over lange afstand water recht naar de naar de oceaan laat afvloeien: een referentie aan de Yellow borders die een thema zijn in het werk van Koen van den Broek. De link met Rimski-Korsakovs opera \u003ci\u003eSadko\u003c/i\u003e zit hem in de vermoede aanwezigheid van een haven, en de niet aflatende zoektocht van het hoofdpersonage naar een manier om over het water een verbinding met het vasteland te vinden.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eSan Diego\u0026nbsp;: nous sommes devant le Salt Lake Institue, un centre de recherche important de cellules souches, h\u0026eacute;berg\u0026eacute; dans un b\u0026acirc;timent magnifique de l\u0026rsquo;architecte top am\u0026eacute;ricain Louis Kahn. Le b\u0026acirc;timent m\u0026ecirc;me n\u0026rsquo;est pas visible. Koen van den Broek photographie le jeu des ombres. Il tombe pour la beaut\u0026eacute; de l\u0026rsquo;\u0026eacute;gout simple qui divise la place sym\u0026eacute;triquement en deux parties et fait couler de l\u0026rsquo;eau sur une longue distance droit vers l\u0026rsquo;oc\u0026eacute;an\u0026nbsp;: une r\u0026eacute;f\u0026eacute;rence aux Yellow borders qui sont un th\u0026egrave;me dans le travail de Koen van den Broek. Le lien avec l\u0026rsquo;op\u0026eacute;ra de Rimski Korsakov \u003cem\u003eSadko\u003c/em\u003e se trouve dans la pr\u0026eacute;sence suppos\u0026eacute;e d\u0026rsquo;un port, et la recherche sans cesse d\u0026rsquo;un personnage principal vers une mani\u0026egrave;re de trouver un lien avec le continent via l\u0026rsquo;eau.\u003c/p\u003e\r\n"}]},{"id":14298,"title":"Liberty #1","dimensions":"180 x 120 cm","date_begin":"2012-01-01","material":"oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Studio Koen van den Broek, Merksem - Marlborough Contemporary, Londen","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"liberty-3","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/630/large/63-Van-Den-Broek_Liberty-1_2012_.png?1469190309","poster_credits":"(c)photo: Studio Koen van den Broek, Merksem","translations":[{"locale":"en","description":"\u003cp\u003eThe artist takes a trip. Away from the rigidity of his usual patterns and muted tones of his colour palette. He captures a moment of joy when he boards the Staten Island ferry in New York. It has been raining and a somewhat whimsical rainbow forms on the wet asphalt that cuts through the word \u0026#39;liberty\u0026#39; written in bronze letters on the road. A rare phenomenon, which means this image immediately adopted a symbolic value for Van den Broek. Another work from the same series (\u003ci\u003eLiberty\u003c/i\u003e #3) is the production image for \u003ci\u003eChoreolab\u003c/i\u003e, an experimental programme whereby the dancers present their own creations in complete freedom and in an uninhibited manner.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEen uitstapje van de kunstenaar. Een stap uit het strakke van zijn gebruikelijke patronen en het gedempte van zijn kleurpalet. Hij legt een moment van vreugde vast wanneer hij in New York op de Staten Islandveerboot stapt. Het heeft geregend en vormt zich een wat grillige regenboog op het natte asfalt die dwars door het in koperen letters over het wegdek geschreven woord \u0026lsquo;liberty\u0026rsquo;. Een zeldzaam fenomeen, waardoor dit beeld voor Van den Broek meteen een symbolische waarde kreeg. Een ander werk uit dezelfde reeks (\u003ci\u003eLiberty #3\u003c/i\u003e) wordt het productiebeeld voor \u003ci\u003eChoreolab\u003c/i\u003e, een experimenteel programma waarbij de dansers in alle vrijheid en onbevangen hun eigen creaties presenteren.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eUne sortie de l\u0026rsquo;artiste. Un pas en dehors du raide de ses mod\u0026egrave;les usuels et le muet de sa palette de couleurs. Il fixe un moment de joie quand il marche sur le ferry de Staten Island \u0026agrave; New York. Il a plu et un arc-en-ciel un peu capricieux se forme sur l\u0026rsquo;asphalte mouill\u0026eacute; et passe par le mot \u0026lsquo;liberty\u0026rsquo; \u0026eacute;crit sur la chauss\u0026eacute;e en lettres de bronze. Un ph\u0026eacute;nom\u0026egrave;ne rare, d\u0026rsquo;o\u0026ugrave; cette image a re\u0026ccedil;u une valeur symbolique pour Van den Broek. Une autre \u0026oelig;uvre de la m\u0026ecirc;me s\u0026eacute;rie \u003cem\u003e(Liberty #3\u003c/em\u003e) devient l\u0026rsquo;image de production pour \u003cem\u003eChoreolab\u003c/em\u003e, un programme exp\u0026eacute;rimental dans lequel les danseurs pr\u0026eacute;sentent leurs propres cr\u0026eacute;ations dans toute libert\u0026eacute; et spontan\u0026eacute;ment.\u003c/p\u003e\r\n"}]},{"id":14299,"title":"Smoke Screen","dimensions":"210 x 140 cm","date_begin":"2005-01-01","material":"oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Philipp von Rosen Gallery, Keulen","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"smoke-screen","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/621/large/csm_VDBK_2005_Smoke_Screen_web_0a6df197da.jpg?1469188920","poster_credits":"(c)photo: Studio Koen van den Broek, Merksem","translations":[{"locale":"en","description":"\u003cp\u003eThe serenity emanating from this work takes the viewer for a ride: this is not a sunset. The sun is too high for that. The image refers to both Hollywood action movies, where unbridled violence set the world on fire, and the impact of major fires just outside of Los Angeles, which literally branded the landscape. Van den Broek, who was coincidentally in L.A. when the natural disaster occurred, decided to ignore all safety precautions and drove a Lincoln Continental convertible to the advancing line of fire, where he managed to photograph unique, apocalyptic scenes. The searing heat threw up sand and dust like a smokescreen. It seemed nothing less than a dramatic battlefield. Looking for the link with the legendary ballet \u003ci\u003eSpartacus\u003c/i\u003e by Yuri Grigorovich, we soon find out that the uncontrollable nature of the fires symbolizes the lost battle of the gladiators.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe sereniteit die uitgaat van dit werk draait de vluchtige toeschouwer een rad voor de ogen: dit is geen zonsondergang. Daarvoor staat de zon veel te hoog. Het beeld refereert zowel aan Hollywood-actiefilms, waarin tomeloos geweld de wereld in vuur en vlam zet, als naar de impact van grote bosbranden net buiten Los Angeles, die het landschap letterlijk brandmerkten. Van den Broek, die toevallig in L.A. verbleef toen de natuurramp plaatsvond, reed tegen de richtlijnen in met een Lincoln Continental-convertible de oprukkende vuurlijn tegemoet en fotografeerde unieke, apocalyptische taferelen. Door de schroeiende hitte wierpen zand en stof zich op als een rookgordijn. Het lijkt niets minder dan een dramatisch battlefield. Op zoek naar het verband met het legendarische ballet Spartacus van Joeri Grigorovitsj, komen we er al snel achter dat het oncontroleerbare van de brandhaarden het verloren gevecht van de gladiator symboliseert.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLa s\u0026eacute;r\u0026eacute;nit\u0026eacute; qui sort de cette \u0026oelig;uvre trompe le spectateur superficiel\u0026nbsp;: ceci n\u0026rsquo;est pas un coucher de soleil. Pour cela, le soleil est beaucoup trop haut. Cette image r\u0026eacute;f\u0026egrave;re aussi bien aux films d\u0026rsquo;action hollywoodiens, o\u0026ugrave; la violence sans limites met le monde en feu, qu\u0026rsquo;\u0026agrave; l\u0026rsquo;impact des grands incendies de for\u0026ecirc;ts juste en dehors de Los Angeles, qui marquaient litt\u0026eacute;ralement le paysage au feu. Van den Broek, qui s\u0026eacute;journait par hasard \u0026agrave; L.A. quand la catastrophe naturelle a eu lieu, a conduit, contrairement aux directives, vers la ligne de feu qui s\u0026rsquo;approchait avec un Lincoln Continental convertible et a photographi\u0026eacute; des sc\u0026egrave;nes uniques, apocalyptiques. A cause de la chaleur br\u0026ucirc;lante le sable et la poussi\u0026egrave;re se jetaient en l\u0026rsquo;air comme un rideau de fum\u0026eacute;e. Cela ne semble rien d\u0026rsquo;autre qu\u0026rsquo;un champ de bataille dramatique. En cherchant le lient avec le ballet l\u0026eacute;gendaire Spartacus de Joeri Grigorovitsi, nous d\u0026eacute;couvrons rapidement que l\u0026rsquo;incontr\u0026ocirc;lable des foyers d\u0026rsquo;incendie symbolise le combat perdu du gladiateur.\u003c/p\u003e\r\n"}]},{"id":14300,"title":"Trona","dimensions":"158 x 154 cm","date_begin":"2006-01-01","material":"oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy privécollectie Dirk en Sabine Boone-Denys","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"trona","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/622/large/EAST_%28Trona_2006_158x154cm%29_%28c%29KoenvandenBroek_web.jpg?1469189055","poster_credits":"(c)photo: Studio Koen van den Broek, Merksem","translations":[{"locale":"en","description":"\u003cp\u003eTrona is a desolate place not far from Death Valley in California. In the glaring midday sun, Koen van den Broek shot an overexposed Polaroid there which evokes the hallucinatory heat. The painting based on the photograph shows the scorching sun in all its glory, portraying a blurred view of reality. Except for some vague contours, the church is all but missing; only the cross was retained. A sign that, in terms of current significance, it is certainly not inferior to the Twin Towers. Sidi Larbi Cherkaoui chose this work as an image of the \u003ci\u003eEast\u003c/i\u003e production with work by choreographers who straddle East and West and draw inspiration from the fusion of these cultures. For the occasion, Cherkaoui made a creation based on Faur\u0026eacute;\u0026#39;s \u003ci\u003eRequiem\u003c/i\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eTrona is een desolate plek niet ver van Death Valley in California. Koen van den Broek maakte er in volle middagzon een overbelichte polaroid die meteen de hallucinante hitte in beeld brengt. Het afgeleide schilderij geeft de schroeiende zon helemaal vrij spel en toont een vertroebelde weergave van de werkelijkheid. Op wat vage contouren na is de kerk verdwenen alleen het kruis houdt nog stand. Een symbool dat het qua actuele beladenheid niet moet afleggen tegen de Twin Towers. Sidi Larbi Cherkaoui koos dit werk als beeld voor de productie \u003ci\u003eEast \u003c/i\u003emet werk van choreografen die zich op de grenslijn bevinden tussen Oost en West en uit de versmelting van deze culturen inspiratie putten. Zelf maakt Cherkaoui voor deze avond een creatie op het \u003ci\u003eRequiem \u003c/i\u003evan Faur\u0026eacute;.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eTrona est un endroit abandonn\u0026eacute; pas loin de Death Valley en Californie, Koen van den Broek y a fait un polaroid trop illumin\u0026eacute; dans le plein soleil du midi qui met directement en images la chaleur hallucinante. La peinture d\u0026eacute;riv\u0026eacute;e donne libre cours au soleil br\u0026ucirc;lant et montre une repr\u0026eacute;sentation troubl\u0026eacute;e de la r\u0026eacute;alit\u0026eacute;. L\u0026nbsp;\u0026lsquo;\u0026eacute;glise a disparu \u0026agrave; part quelques contours vagues, uniquement la croix reste en place. Un symbole qui, en ce qui concerne la charge actuelle, est au m\u0026ecirc;me plan que les Twin Towers (tours jumelles). Sidi Larbi Cherkaoui a choisi cette \u0026oelig;uvre comme image pour la production \u003cem\u003eEast\u003c/em\u003e avec du travail de chor\u0026eacute;graphes qui se trouvent \u0026agrave; la limite entre l\u0026rsquo;Orient et l\u0026rsquo;Occident et trouvent leur inspiration dans une fusion de ces cultures. Cherkaoui m\u0026ecirc;me a fait pour cette soir\u0026eacute;e une cr\u0026eacute;ation sur le \u003cem\u003eRequiem\u003c/em\u003e de Faur\u0026eacute;.\u003c/p\u003e\r\n"}]},{"id":14301,"title":"Twin Towers","dimensions":"90 x 135 cm","date_begin":"1999-01-01","material":"oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"twin-towers","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/623/large/koen-van-den-broek-twin-towers.jpg?1469189178","poster_credits":"(c)photo: Studio Koen van den Broek, Merksem","translations":[{"locale":"en","description":"\u003cp\u003eThis iconic image is a very early painting by Koen van den Broek, based on a photograph he made during his first visit to New York City from the Brooklyn Bridge. In this picture, the artist refers to art history and, in particular, to the work of the German photographer August Sander. In showing the tall twin towers only partly, he manages to show a condensed version of them. A tribute to August Sanders\u0026#39; portrait of two unsuspecting people of normal height, who, merely by giving them a false perspective, he reduced to two dwarfs. Van den Broek borrowed the sober colour choice from the minimalism of Donald Judd, for which the artist has great admiration. Of course, this work is also a degree of adoration for the architecture and the symbolic value of the towers. Sidi Larbi Cherkaoui chose this work because of the even greater symbolic importance after 9/11, as production image for West, a programme of works by three American choreographers. The work Twin Towers is part of Elton John\u0026rsquo;s art collection.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDit iconisch beeld is een heel vroeg schilderij van Koen van den Broek, gebaseerd op een foto die hij tijdens zijn eerste bezoek aan New York maakte van op de Brooklyn Bridge. In dit beeld refereert de kunstenaar aan de kunstgeschiedenis en meer bepaald aan het werk van de Duitse fotograaf August Sander. Hij brengt de hoge Twin Towers slechts deels in beeld zodat ze een verkorte versie van zichzelf lijken. Een hommage aan August Sanders\u0026rsquo; portret van twee nietsvermoedende mensen van normale lengte, die hij louter door een vals perspectief herleidde tot twee dwergen. De sobere kleurkeuze ontleende Van den Broek dan weer aan het minimalisme van Donald Judd, waarvoor de kunstenaar grote bewondering koestert. Uiteraard getuigt dit werk ook van enige adoratie voor de architectuur en de symboolwaarde van de torens. Sidi Larbi Cherkaoui koos dit werk, vanwege de nog grotere symbolische waarde na 9/11, als productiebeeld voor \u003ci\u003eWest\u003c/i\u003e, een programma met werk van drie Amerikaanse choreografen. Het werk \u003cem\u003eTwin Towers\u003c/em\u003e maakt deel uit van de kunstcollectie van Elton John.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCette image iconique est une peinture tr\u0026egrave;s t\u0026ocirc;t de Koen van den Broek, bas\u0026eacute;e sur une photo qu\u0026rsquo;il a prise pendant sa premi\u0026egrave;re visite \u0026agrave; New York du Brooklyn Bridge. Dans cette image l\u0026rsquo;artiste r\u0026eacute;f\u0026egrave;re \u0026agrave; l\u0026rsquo;histoire de l\u0026rsquo;art et plus particuli\u0026egrave;rement au travail du photographe allemand August Sander. Il ne met les hautes Twin Towers (tours jumelles) en images que partiellement et ainsi, elles paraissent une version plus courte d\u0026rsquo;elles-m\u0026ecirc;mes. Un hommage au portrait d\u0026rsquo;August Sanders de deux personnes qui ne se doutaient de rien de taille normale, qu\u0026rsquo;il a r\u0026eacute;duites \u0026agrave; des nains simplement par une fausse perspective. Le choix de couleurs sobre a \u0026eacute;t\u0026eacute; emprunt\u0026eacute; par Van den Broek au minimalisme de Donald Judd, pour qui l\u0026rsquo;artiste a une grande admiration. Bien s\u0026ucirc;r, cette \u0026oelig;uvre t\u0026eacute;moigne \u0026eacute;galement d\u0026rsquo;une certaine adoration pour l\u0026rsquo;architecture et la valeur symbolique des tours. Sidi Larbi Cherkaoui a choici cette \u0026oelig;uvre, \u0026agrave; cause de la valeur symbolique encore plus grande apr\u0026egrave;s 9/11, comme image de production pour \u003cem\u003eWest\u003c/em\u003e, un programme avec du travail de trois chor\u0026eacute;graphes am\u0026eacute;ricains. L\u0026rsquo;\u0026oelig;uvre \u003cem\u003eTwin Towers\u003c/em\u003e (tours jumelles) fait partie de la collection d\u0026rsquo;art d\u0026rsquo;Elton John.\u003c/p\u003e\r\n"}]},{"id":14302,"title":"Sunset","dimensions":"120 x 150 cm","date_begin":"2015-01-01","material":"oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy collectie Katrien Carbonez, New York","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"sunset","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/624/large/Koen-van-den-Broek-Sunset-2015-oil-on-canvas.jpg?1469189317","poster_credits":"(c)photo: Studio Koen van den Broek, Merksem","translations":[{"locale":"en","description":"\u003cp\u003eKoen van den Broek uses filmmaker Fellini\u0026rsquo;s guideline and establishes a framework where he decides to lay down the law. He, by the way, breaks the law he usually applies to his work. The result is an atypical work of the artist with the dramatic tension of a filmic image. No wonder, because Van den Broek also relied on one of the epic final images of Wim Wenders film Paris, Texas. The figure that we see from the back looks at the hotel where mother and son are reunited, and then disappears from their lives. The pain and loneliness of that moment is captured in the dark composition. Van den Broek projected the film in his studio and took pictures from different angles of the screen, resulting in a distortion of the image. As part of the production Infinite Now, a new creation of Chaya Czernowin on the subject of World War I, we read the situation as that of a soldier saying goodbye to his civilian life. He looks at his home from a distance, while on the right there, we glimpse the glow of the front, mixed with a sunset that represents a certain end. Or is it like a sunrise and a new beginning?\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eKoen van den Broek gebruikt de richtlijn van filmmaker Fellini en stelt een kader op waarbinnen hij zelf de regels bepaalt. Hij doorbreekt bovendien de regels die hij gewoonlijk voor zijn werken hanteert. Het resultaat is een atypisch werk van de kunstenaar met de dramatische geladenheid van een filmbeeld. Geen wonder, want Van den Broek baseerde zich dan ook op een van de epische eindbeelden van Wim Wenders film \u003ci\u003eParis, Texas\u003c/i\u003e. De figuur die we ruggelings zien, kijkt naar het hotel waar de moeder en zijn zoon herenigd worden, terwijl hij uit hun leven verdwijnt. De pijn en de eenzaamheid van dat moment zijn af te lezen uit de donkere compositie. Van den Broek projecteerde de film in zijn atelier en nam vanuit verschillende hoeken foto\u0026rsquo;s van het scherm, wat een vervorming van het beeld opleverde. In het kader van de productie \u003ci\u003eInfinite Now\u003c/i\u003e, een nieuwe creatie van Chaya Czernowin rond de Eerste Wereldoorlog, lezen we de situatie als die van een soldaat die afscheid neemt van zijn burgerleven. Hij kijkt vanop afstand naar zijn thuis, terwijl rechts de gloed van het front reeds te zien is, vermengd met een zonsondergang die voor een zeker einde staat. Of is het net een zonsopgang en een nieuw begin?\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eKoen van den Broek utilise la directive du r\u0026eacute;gisseur Fellini et construit un cadre \u0026agrave; l\u0026rsquo;int\u0026eacute;rieur duquel il d\u0026eacute;termine lui-m\u0026ecirc;me les r\u0026egrave;gles. De plus, il brise les r\u0026egrave;gles qu\u0026rsquo;il manie g\u0026eacute;n\u0026eacute;ralement pour ses \u0026oelig;uvres. Le r\u0026eacute;sultat est une \u0026oelig;uvre atypique de l\u0026rsquo;artiste avec une charge dramatique d\u0026rsquo;une image de film. Cela ne doit pas \u0026eacute;tonner, car Van den Broek s\u0026rsquo;est bas\u0026eacute; sur les images finales \u0026eacute;piques du film de Wim Wender Paris, Texas. La figure qu\u0026rsquo;on voit en arri\u0026egrave;re, regarde l\u0026rsquo;h\u0026ocirc;tel o\u0026ugrave; la m\u0026egrave;re et son fils sont r\u0026eacute;unis, alors qu\u0026rsquo;il dispara\u0026icirc;t de leur vie. La douleur et la solitude de ce moment se voient dans la composition obscure. Van den Broek a projet\u0026eacute; le film dans son atelier et a pris des photos de l\u0026rsquo;\u0026eacute;cran de diff\u0026eacute;rents angles. Dans le cadre de la production \u003cem\u003eInfinite Now\u003c/em\u003e, une nouvelle cr\u0026eacute;ation de Chava Czernowin autour de la Premi\u0026egrave;re Guerre Mondiale, nous lisons la situation comme un soldat qui dit adieu \u0026agrave; sa vie de civil. Il regarde sa maison d\u0026rsquo;une distance, alors qu\u0026rsquo;\u0026agrave; droite on voit d\u0026eacute;j\u0026agrave; la lueur du front, m\u0026eacute;lang\u0026eacute;e avec un coucher de soleil qui repr\u0026eacute;sente une certaine fin. Ou est-ce justement un lever de soleil et un nouveau d\u0026eacute;but\u0026nbsp;?\u003c/p\u003e\r\n"}]},{"id":14304,"title":"Makropoulos","dimensions":"115 x 88 cm","date_begin":"2015-01-01","material":"oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Koen van den Broek, Schilde","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"makropulos","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/626/large/VECMAKROPULOS_%28Makropulos_2015_115x8cm%29_%28c%29KoenvandenBroek_web.jpg?1469189589","poster_credits":"(c)photo: Studio Koen van den Broek, Merksem","translations":[{"locale":"en","description":"\u003cp\u003eFor this work, Koen van den Broek was inspired by Leo\u0026scaron; Jan\u0026aacute;ček\u0026#39;s opera \u003ci\u003eThe Makropoulos Case\u003c/i\u003e. He created a new image with samples from his own works of the Tracks series, which have also been published in books. Even though the lines and colour still predominate, there are also figurative elements included. In his work, he used elements that recur on a regular basis, such as the architectural fault lines and shadows. We also see references to art history, such as the \u003cem\u003eMadonna\u003c/em\u003e of Fouquet for which Agnes Sorel, the legendary mistress of the French King Charles VII was a model. He attributes a life-sustaining role to the mistress / muse, much like the elixir around which everything revolves in \u003ci\u003eThe Makropoulos Case\u003c/i\u003e. Her collar symbolizes the stranglehold of the poisoned gift which is eternal life.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eKoen van den Broek liet zich voor dit werk inspireren door Leo\u0026scaron; Jan\u0026aacute;čeks opera \u003ci\u003eDe zaak Makropoulos.\u003c/i\u003e Met samples uit eigen werken van de, ook in boek verschenen, serie \u003ci\u003eTracks\u003c/i\u003e, stelde hij een nieuw beeld samen. Hoewel nog steeds het lijnenspel en de kleurvlakken de boventoon voeren, dringen ook figuratieve aspecten zich op. Hij gebruikte elementen die in zijn oeuvre vaker weerkeren, zoals de architecturale breuklijnen en schaduwen. Daarnaast zien we verwijzingen naar de kunstgeschiedenis zoals de\u003cem\u003e Madonna\u003c/em\u003e van Fouquet waarvoor Agnes Sorel, de legendarische ma\u0026icirc;tresse van de Franse koning Charles VII, model stond. De ma\u0026icirc;tresse/muze dicht hij een levensverlengende rol toe, net als het elixir waar in \u003ci\u003eDe zaak Makropoulos\u003c/i\u003e alles om draait. Haar kraag symboliseert de wurggreep van het vergiftigde geschenk dat het eeuwige leven is.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003ePour cette \u0026oelig;uvre, Koen van den Broek s\u0026rsquo;est laiss\u0026eacute; inspirer par l\u0026rsquo;op\u0026eacute;ra de Leo\u0026scaron; Jan\u0026aacute;ček \u003cem\u003eL\u0026rsquo;affaire Makropoulos\u003c/em\u003e. Avec des samples de ses propres \u0026oelig;uvres de la s\u0026eacute;rie \u003cem\u003eTracks\u003c/em\u003e, aussi apparue en livre, il a form\u0026eacute; une nouvelle image. Quoique le jeu des lignes et les surfaces de couleur forment toujours l\u0026rsquo;avant-plan, des aspects figuratifs s\u0026rsquo;imposent aussi. Il a utilis\u0026eacute; des \u0026eacute;l\u0026eacute;ments qui reviennent plus souvent dans son \u0026oelig;uvre, comme les lignes\u0026nbsp;de section architecturales et les ombres. En plus, nous voyons des renvois \u0026agrave; l\u0026rsquo;histoire de l\u0026rsquo;art comme la \u003cem\u003eMadonna\u003c/em\u003e de Fouquet, pour qui Agnes Sorel, la ma\u0026icirc;tresse l\u0026eacute;gendaire du roi fran\u0026ccedil;ais Charles VII, a \u0026eacute;t\u0026eacute; mod\u0026egrave;le. Il attribue \u0026agrave; la ma\u0026icirc;tresse/muse un r\u0026ocirc;le qui prolonge la vie, tout comme l\u0026rsquo;\u0026eacute;lixir autour duquel tourne tout dans \u003cem\u003eL\u0026rsquo;affaire Makropoulos\u003c/em\u003e. Son col symbolise l\u0026rsquo;\u0026eacute;tranglement qu\u0026rsquo;est le cadeau empoisonn\u0026eacute; de la vie \u0026eacute;ternelle.\u003c/p\u003e\r\n"}]},{"id":14305,"title":"Agrippina","dimensions":"120 x 180 cm","date_begin":"2015-01-01","material":"oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy collectie familie De Pauw","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"agrippina","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/627/large/4e1ee80a-469d-4aae-8d89-3f6bc6434fa3.jpg?1469189782","poster_credits":"(c)photo: Studio Koen van den Broek, Merksem","translations":[{"locale":"en","description":"\u003cp\u003eThis work is one of the first in which Koen van den Broek clearly chooses a strong figurative element. We can just about make out a human figure walking off. Only the shadow betrays the nature of the encounter. Again, the artist incorporates a stylized representation of the crowned Agnes Sorel figure, the eternal mistress. It can be interpreted as a snapshot from Handel\u0026#39;s baroque opera \u003cem\u003eAgrippina\u003c/em\u003e, which revolves around a tangle of royal intrigue.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDit werk is een van de eerste waarin Koen van den Broek duidelijk voor een sterk figuratief element kiest. We zien nog net een menselijke figuur zich uit de voeten maken. Alleen de schaduw verraadt nog de aard van de ontmoeting. Ook hier verwerkt de kunstenaar een gestileerde weergave van de gekroonde Agnes Sorel-figuur, de eeuwige ma\u0026icirc;tresse. Het kan ge\u0026iuml;nterpreteerd worden als een momentopname uit H\u0026auml;ndels barokopera \u003ci\u003eAgrippina\u003c/i\u003e, die om een kluwen van koninklijke intriges draait.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCette \u0026oelig;uvre est une des premi\u0026egrave;res dans lesquelles Koen van den Broek choisit clairement pour un \u0026eacute;l\u0026eacute;ment fortement figuratif. Nous voyons encore tout juste une figure humaine qui s\u0026rsquo;en va. Uniquement l\u0026rsquo;ombre trahit encore la nature de la rencontre. Ici aussi, l\u0026rsquo;artiste int\u0026egrave;gre une repr\u0026eacute;sentation styl\u0026eacute;e de la figure couronn\u0026eacute;e Agnes Sorel, la ma\u0026icirc;tresse \u0026eacute;ternelle. On pourrait l\u0026rsquo;interpr\u0026eacute;ter comme un instantan\u0026eacute; de l\u0026rsquo;op\u0026eacute;ra baroque \u003cem\u003eAgrippina\u003c/em\u003e de H\u0026auml;ndel, qui tourne autour d\u0026rsquo;un enchev\u0026ecirc;trement d\u0026rsquo;intrigues royales.\u003c/p\u003e\r\n"}]},{"id":14307,"title":"Die Zauberflöte","dimensions":"120 x 80 cm","date_begin":"2015-01-01","material":"oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Studio Koen van den Broek, Merksem","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"die-zauberflote","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/629/large/DieZauberflote_KvdB.jpg?1469190151","poster_credits":"(c)photo: Studio Koen van den Broek, Merksem","translations":[{"locale":"en","description":"\u003cp\u003eThe overworld versus underworld is at the heart of this painting which was created following Mozart\u0026#39;s opera. Van den Broek took his inspiration for this division in South Korea, on Jeju Island to be precise, which is one of the last matriarchies. The painting is based an earlier work by him, \u003ci\u003eOmniverse\u003c/i\u003e, also inspired by the images he made of the Water Museum, a creation of the Japanese-Korean architect Intam Jun on Jeju. It is a circular concrete structure around a water feature where the light coming through is constantly changing. In this work too, we see a reference to that water feature with a reflection of the sun above. An externalization of the internal process where one must dig deep to reach the light. That alchemical trip, the innovative process that unfolds amidst a struggle between the new and the old, also marks the key theme of Mozart\u0026#39;s \u003ci\u003eDie Zauberfl\u0026ouml;te\u003c/i\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe bovenwereld versus de onderwereld staan centraal in dit speciaal naar aanleiding van Mozarts opera gecre\u0026euml;erde schilderij. Van den Broek haalde zijn inspiratie voor deze tweedeling in Zuid-Korea, meer bepaald op Cheju Island, een van de laatste matriarchaten. Het schilderij is een afgeleide van een vroeger werk van hem: \u003ci\u003eOmniverse\u003c/i\u003e, eveneens ge\u0026iuml;nspireerd op de beelden die hij maakte van het Water Museum, een creatie van de Japans-Koreaanse architect Intam Jun op Cheju. Het is een cirkelvormige betonnen structuur rond een waterpartij, waar de lichtinval voortdurend verandert. Ook in dit werk zien we onderaan een verwijzing naar die waterpartij met bovenaan een reflectie van de zon. Een veruiterlijking van het innerlijk proces waarbij men diep moet gaan om het licht te bereiken. Die alchemistische trip, het vernieuwingsproces dat zich mits een strijd tussen het nieuwe en het oude voltrekt, is meteen ook het grote thema van Mozarts \u003ci\u003eDie Zauberfl\u0026ouml;te\u003c/i\u003e.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe monde d\u0026rsquo;en haut versus le monde d\u0026rsquo;en bas sont centraux dans cette peinture cr\u0026eacute;\u0026eacute;e sp\u0026eacute;cialement \u0026agrave; l\u0026rsquo;occasion de l\u0026rsquo;op\u0026eacute;ra de Mozart. Van den Broek a trouv\u0026eacute; son inspiration pour cette dichotomie au Cor\u0026eacute;e du Sud, plus particuli\u0026egrave;rement \u0026agrave; Cheju Island, un des derniers matriarcats. La peinture est une d\u0026eacute;riv\u0026eacute;e d\u0026rsquo;une \u0026oelig;uvre plus ancienne de lui\u0026nbsp;: \u003cem\u003eOmniverse\u003c/em\u003e, aussi inspir\u0026eacute; des images qu\u0026rsquo;il a faites dans le Water Museum, une cr\u0026eacute;ation de l\u0026rsquo;architecte Japonais-Cor\u0026eacute;en Intam Jun \u0026agrave; Cheju. C\u0026rsquo;est une structure en b\u0026eacute;ton en forme de cercle, autour d\u0026rsquo;eau, o\u0026ugrave; les angles d\u0026rsquo;\u0026eacute;clairage changent constamment. Dans cette \u0026oelig;uvre \u0026eacute;galement, nous voyons, en bas, une r\u0026eacute;f\u0026eacute;rence \u0026agrave; cette eau avec en haut une r\u0026eacute;flexion du soleil. Une ext\u0026eacute;riorisation du processus interne o\u0026ugrave; il faut aller tr\u0026egrave;s bas afin d\u0026rsquo;atteindre la lumi\u0026egrave;re. Ce voyage alchimique, le processus de renouvellement qui se fait \u0026agrave; condition d\u0026rsquo;une lutte entre le nouveau et l\u0026rsquo;ancien, est aussi le nouveau grand th\u0026egrave;me de \u003cem\u003eDie Zauberfl\u0026ouml;te\u003c/em\u003e de Mozart.\u003c/p\u003e\r\n"}]},{"id":14374,"title":"Crack, Royal Academy London","dimensions":"32.1 x 47.9 cm ","date_begin":"2015-01-01","material":"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":"Philipp von Rosen Galerie, Cologne","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"crack-royal-academy-london","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/801/large/PAULUS_%28Crack_2015_32_1x47_9cm%29_%28c%29KoenvandenBroek_web.jpg?1470650215","poster_credits":"(c)photo: Studio Koen van den Broek, Merksem","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14375,"title":"Viaduct","dimensions":"23.9 x 32.1 cm","date_begin":"2015-01-01","material":"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":"Philipp von Rosen Galerie, Cologne","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"viaduct","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/889/large/VDBK_2015_Z108_Viaduct_300.jpg?1471171556","poster_credits":"(c)photo: Studio Koen van den Broek, Merksem","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14377,"title":"Untitled","dimensions":"43 x 35.5 cm ","date_begin":"2009-01-01","material":"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":"Courtesy Philipp von Rosen Gallery, Keulen","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"untitled-e6b9e8f8-9d28-4ba0-91ac-5440d0965d5f","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/890/large/VDBK_2015_Z112_Untitled_300.jpg?1471171648","poster_credits":"(c)photo: Studio Koen van den Broek, Merksem","translations":[{"locale":"en","description":"\u003cp\u003eFour gouaches, created in different periods, constitute the series of images for the concert programme at Flanders Opera. They share the typical use of colours of Koen van den Broek, as well as their themes, which are mostly architectural. Here too, the metaphors are never far away: the cracks in the road surface echo those in the institute, the viaduct connects, the lines provide direction and a road, the parked car in the snow designates a clash between nature and culture. Each image is a victim, caught by the artist\u0026rsquo;s sharp, expert eye.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eVier gouaches, die in verschillende perioden tot stand kwamen, vormen samen de beeldreeks voor het concertprogramma bij Opera Vlaanderen. Ze hebben het typische kleurgebruik van Koen van den Broek gemeen en hun thema\u0026rsquo;s, die veelal architectuurelementen zijn. Ook hier zijn de metaforen nooit ver weg: de barsten in het wegdek staan net zo goed voor de barsten in het instituut, het\u0026nbsp; viaduct verbindt, de lijnen geven richting en worden een weg, de geparkeerde auto in de sneeuw die op een clash tussen natuur en cultuur duidt. Elk beeld is een prooi, gevangen door de scherpe, bijzondere blik van de kunstenaar.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eQuatre gouaches, qui se r\u0026eacute;alisaient dans diff\u0026eacute;rentes p\u0026eacute;riodes, forment ensemble la s\u0026eacute;rie d\u0026rsquo;images pour le programme de concerts chez op\u0026eacute;ra Flandres. Ils ont en commun l\u0026rsquo;emploi de couleurs typique de Koen van den Broek et leurs th\u0026egrave;mes, qui sont plut\u0026ocirc;t des \u0026eacute;l\u0026eacute;ments architecturaux. Ici aussi, les m\u0026eacute;taphores ne sont jamais loin\u0026nbsp;: les fissures dans la route repr\u0026eacute;sentent aussi bien les fissures dans l\u0026rsquo;institut, le viaduc relie, les lignes donnent de la direction et deviennent une route, une voiture gar\u0026eacute;e dans la neige qui indique un clash entre nature et culture. Chaque image est une proie, captur\u0026eacute;e par la vue aigue, remarquable de l\u0026rsquo;artiste.\u003c/p\u003e\r\n"}]},{"id":14388,"title":"Switch","dimensions":"60.5 x 90 cm","date_begin":"2015-01-01","material":"oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Koen van den Broek, Schilde","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"switch","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/799/large/SEIZOENSBEELD_liggend_%28Switch_2015_60_5x90cm%29_%28c%29KoenvandenBroek_web.jpg?1470649106","poster_credits":"(c)photo: Studio Koen van den Broek, Merksem","translations":[{"locale":"en","description":"\u003cp\u003eA recent work by Van den Broek which fits the seasonal theme beautifully, even though it was not especially created for it. A curb and a pole with drop shadow which, by rendering them abstract, become the graphic elements that dictate the capabilities of the mental space which each canvas is. The red border makes a pendulum-like motion and leads to a dark area where the viewer does not know where it ends. The sign, which the post undoubtedly carries, is not readable. The components fail to indicate a clear direction. The perspective forces the eye in a direction, but the movement is a hindrance, a threshold. The red colour indicates danger. Yet, these are borders that invite to be exceeded or even ignored. A mental space which every spectator is bound to experience differently.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEen recent werk van Van den Broek dat wonderlijk aansluit bij het seizoensthema, maar er niet speciaal voor werd gecre\u0026euml;erd. Een stoeprand en een paal met slagschaduw worden, door het abstraheren, grafische elementen die de mogelijkheden van de mentale ruimte die elk doek is, dicteren. De rode rand maakt een slingerachtige beweging en leidt naar een donker vlak waarvan de toeschouwer niet weet waar het eindigt. De signalisatie die de paal ongetwijfeld draagt, is evenmin leesbaar. De elementen slagen er niet in een duidelijke richting aan te geven. Het perspectief dwingt het oog in een richting, maar de beweging vormt een hindernis, een drempel. De rode kleur drukt gevaar uit. Toch zijn het grenzen die uitnodigen om overschreden of zelfs genegeerd te worden. Een mentale ruimte die elke toeschouwer anders zal ervaren.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eUne \u0026oelig;uvre r\u0026eacute;cente de Van den Broek qui cadre merveilleusement avec le th\u0026egrave;me de saison, mais qui n\u0026rsquo;a pas \u0026eacute;t\u0026eacute; cr\u0026eacute;\u0026eacute;e sp\u0026eacute;cialement pour cela. Une bordure de trottoir et un poteau avec une ombre port\u0026eacute;e deviennent, par l\u0026rsquo;abstraction, des \u0026eacute;l\u0026eacute;ments graphiques qui dictent les possibilit\u0026eacute;s de l\u0026rsquo;espace mentale qu\u0026rsquo;est chaque toile. La bordure rouge fait une oscillation et m\u0026egrave;ne \u0026agrave; une surface obscure dont le spectateur ne sait pas o\u0026ugrave; il s\u0026rsquo;arr\u0026ecirc;te. La signalisation que le poteau porte sans doute, n\u0026rsquo;est pas lisible non plus. Les \u0026eacute;l\u0026eacute;ments ne r\u0026eacute;ussissent pas \u0026agrave; indiquer une direction claire. La perspective force l\u0026rsquo;\u0026oelig;il dans une direction, mais le mouvement forme un obstacle, un seuil. La couleur rouge exprime du danger. N\u0026eacute;anmoins, ce sont des limites qui invitent \u0026agrave; \u0026ecirc;tre transgress\u0026eacute;es ou m\u0026ecirc;me ni\u0026eacute;es. Une espace mentale que chaque spectateur exp\u0026eacute;rimentera diff\u0026eacute;remment.\u003c/p\u003e\r\n"}]},{"id":14389,"title":"Borderline","dimensions":"135 x 90 cm","date_begin":"2016-01-01","material":"oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist  ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"borderlines","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/800/large/kdvb_borderlines_2016_small.jpg?1470649253","poster_credits":"(c)photo: Studio Koen van den Broek, Merksem","translations":[{"locale":"en","description":"\u003cp\u003eA work with a clear reference to the love of Koen van den Broek for film semiotics. The black lines above and below refer to the framing, the image that is defined by two black lines, as is customary in film and television. Furthermore, it is a strong work that sends a clear message. An undeniable dichotomy draws our attention from the light to the darkness. It contrasts with the other Borderline image (\u003cem\u003eSwitch\u003c/em\u003e) which is much fresher in colour: Van den Broek describes this work as much more photographic. Red is not red, the elements refuse to be pigeonholed.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEen werk met een duidelijke referentie aan de liefde van Koen van den Broek voor filmsemiotiek. De zwarte lijnen boven en onder verwijzen naar de cadrage, het beeld dat besloten ligt tussen twee zwarte lijnen zoals gebruikelijk bij film en televisie. Verder is het een sterk werk met duidelijke signalen. Een onbetwistbare tweespalt dwingt onze blik van het licht naar de duisternis. Het contrasteert met het andere Borderlinebeeld (\u003ci\u003eSwitch\u003c/i\u003e) dat veel frisser van kleur is: dit werk bestempelt Van den Broek als veel meer fotografisch. Het rood is geen rood, de elementen weigeren zich te laten defini\u0026euml;ren.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eUne \u0026oelig;uvre avec une r\u0026eacute;f\u0026eacute;rence claire \u0026agrave; l\u0026rsquo;amour de Koen van den Broek pour la s\u0026eacute;miotique du film. Les lignes noires en haut et en bas renvoient au cadrage, l\u0026rsquo;image qui est enferm\u0026eacute;e entre deux lignes noires comme il est d\u0026rsquo;usage pour le film et la t\u0026eacute;l\u0026eacute;vision. En plus c\u0026rsquo;est une \u0026oelig;uvre forte avec des signaux clairs. Une discordance claire force notre vue de la lumi\u0026egrave;re vers l\u0026rsquo;obscurit\u0026eacute;. Cela contraste avec l\u0026rsquo;autre image Borderline (\u003cem\u003eSwitch\u003c/em\u003e) qui est beaucoup plus fra\u0026icirc;che en couleurs\u0026nbsp;: Van den Broek classifie cette \u0026oelig;uvre comme beaucoup plus photographique. Le rouge n\u0026rsquo;est pas du rouge, les \u0026eacute;l\u0026eacute;ments refusent de se laisser d\u0026eacute;finir.\u003c/p\u003e\r\n"}]},{"id":20760,"title":"Green Crack","dimensions":"","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Koen van den Broek","cached_tag_list":"Art's Birthday Salon de Peinture","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"green-crack","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/043/241/medium_500/Koenvandenbroek_GreenCrack_2019_Arts_Birthday_photo_M_HKAcc.jpg?1548162858","cached_actor_names":"Koen van den Broek","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/000/043/241/large/Koenvandenbroek_GreenCrack_2019_Arts_Birthday_photo_M_HKAcc.jpg?1548162858","poster_credits":"Collection Koen van den Broek, image: (c) M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4854,"title":"190 # 1","dimensions":"100 x 150 cm","date_begin":"2004-01-01","material":"oil, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"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":"BK7658_M419","stream_count_app":34,"permalink":"190-1","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eVan den Broek wurde vor allem bekannt f\u0026uuml;r seine desorientierenden Leinw\u0026auml;nde von Stra\u0026szlig;enr\u0026auml;ndern, Fu\u0026szlig;wegen, Rinnen und anderen \u0026bdquo;horizontalen\u0026ldquo; Begrenzungen und Grenzgebieten. Obwohl sie der banalen allt\u0026auml;glichen Wirklichkeit entlehnt sind, neigen diese Leinw\u0026auml;nde unvermeidlich zu einer hierarischen Abstraktion. Das figurative Residuum schimmert in einer Reihe verwandter Arbeiten expliziter durch, von denen das Museum zwei Beispiel erwarb (eine Schenkung des K\u0026uuml;nstlers): Close-ups von einem ausgetrockneten St\u0026uuml;ck Land, oder eine durch tiefe Risse zerrissene Stra\u0026szlig;enfl\u0026auml;che. Die Perspektive mag sich \u0026auml;ndern, aber in seinen Werken \u0026bdquo;190#1\u0026ldquo; und \u0026bdquo;190#2\u0026ldquo; (beide aus dem Jahr 2004) bleibt Van den Broek dem strukturellen Leitmotiv treu: dass vom Boden sich die Welt, die wir bewohnen und navigieren, erhebt.\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":null,"cached_actor_names":"Koen van den Broek","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/000/008/567/large/Broek__Koen_Van_den__190__1__2004.JPG?1334239004","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eVan den Broek mainly became known for his disorienting canvases of roadsides, sidewalks, gutters and other \u0026lsquo;horizontal\u0026rsquo; boundaries and border areas. And while they are taken from the most banal of everyday reality, these canvases inevitably tend towards a hieratic abstraction. The figurative residue shimmers through even more explicitly in a series of related works, two examples of which have been acquired by the museum (one a gift of the artist): close-ups of a parched piece of land, or a road surface ridden by deep cracks. Maybe the perspective changes, but in his works \u0026lsquo;190#1\u0026rsquo; and \u0026lsquo;190#2\u0026rsquo; (both from 2004), Van den Broek remains true to the structural leitmotif in his oeuvre: that of the ground from which the world that we inhabit and navigate, arises.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eVan den Broek werd vooral bekend met zijn desori\u0026euml;nterende doeken van bermen, trottoirs, goten en andere \u0026lsquo;horizontale\u0026rsquo; begrenzingen en grensgebieden; hoewel ze aan een zeer banale dagelijkse werkelijkheid zijn ontleend, neigen deze doeken onvermijdelijk naar een hi\u0026euml;ratische abstractie. Het figuratieve residu schemert explicieter door in een reeks hieraan verwante werken, waarvan het museum twee voorbeelden verwierf, \u0026eacute;\u0026eacute;n door een schenking van de kunstenaar zelf: close-ups van een uitgedroogd lapje grond, of een door diepe barsten verscheurd wegoppervlak. Het perspectief mag dan nog veranderen, Van den Broek blijft in \u003cem\u003e190#1\u003c/em\u003e\u0026nbsp;en\u003cem\u003e 190#2\u003c/em\u003e\u0026nbsp;(allebei uit 2004) trouw aan het structurele leitmotief in zijn oeuvre: dat van de grond waarop de wereld, die wij bewonen en navigeren, verrijst.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eVan den Broek a principalement acquis la notori\u0026eacute;t\u0026eacute; pour ses canevas d\u0026eacute;sorientants de bords de route, de trottoirs, de goutti\u0026egrave;res et autres fronti\u0026egrave;res \u0026#39;horizontales\u0026#39; et zones frontali\u0026egrave;res. Et tandis qu\u0026#39;ils sont tir\u0026eacute;s de la r\u0026eacute;alit\u0026eacute; quotidienne la plus banale, ces canevas tendent in\u0026eacute;vitablement \u0026agrave; une abstraction hi\u0026eacute;ratique. Le r\u0026eacute;sidu figuratif miroite encore plus explicitement dans une s\u0026eacute;rie d\u0026#39;oeuvres li\u0026eacute;es, dont deux exemples ont \u0026eacute;t\u0026eacute; acquis par le mus\u0026eacute;e (l\u0026#39;un est un don de l\u0026#39;artiste) : gros plans sur un bout de terre parchemin\u0026eacute; ou la surface d\u0026#39;une route parcourue de profondes fissures. Peut-\u0026ecirc;tre que le point de vue change mais dans ses oeuvres \u0026lsquo;190#1\u0026rsquo; et \u0026lsquo;190#2\u0026rsquo; (qui datent toutes deux de 2004), Van den Broek demeure fid\u0026egrave;le au leitmotiv structurel de son oeuvre : celui de la terre d\u0026#39;o\u0026ugrave; na\u0026icirc;t le monde dans lequel nous vivons et naviguons.\u003c/p\u003e\r\n"}]},{"id":30611,"title":"Overschot Koen \u0026 Jef","dimensions":"17 x 20","date_begin":"2007-01-01","material":"paper, pencil","short_description":"\u003cp\u003eSuperfluous drawings Koen \u0026amp; Jef\u003c/p\u003e\u003cp\u003eTwo drawings left over from a session with Koen van den Broek and Jef Lambrecht (one seemingly a cadavre exquis) perhaps from the series shown at an exhibition in the Sasmeesterswoning where AIR was housed – “Donkerte / darkness” 07/07/2007.\u003c/p\u003e","art_status_id":13,"legal_status_id":84,"category_id":20,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"M HKA, Antwerpen - Schenking Samarkand, 2019","cached_tag_list":"Cadavre exquis schets","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"overschot-koen-jef","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"\u003cp\u003eOverschot Koen \u0026amp; Jef\u003c/p\u003e\u003cp\u003eTwee tekeningen misschien overgebleven van een tekensessie tussen Koen van den Broek en Jef Lambrecht, (een blijkbaar cadavre exquis) misschien voor de expo in de Sasmeesterswoning-AIR 'Donkerte/Darkness' 07 /07/2007\u003c/p\u003e","short_description_fr":"\u003cp\u003e'Dessins superflus' 'Surplus) Koen \u0026amp; Jef\u003c/p\u003e\u003cp\u003eDeux dessins restants d'une séance avec Koen van den Broek et Jef Lambrecht (dont un apparemment un cadavre exquis) peut-être de la série présentée lors d'une exposition au Maison du gardien de l'écluse où se trouvait le AIR a l'époque – « Donkerte / dark » 07/07/2007.\u003c/p\u003e","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/000/073/412/medium_500/552JL018.jpg?1627307572","cached_actor_names":"Koen van den Broek, Jef Lambrecht","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/000/073/412/large/552JL018.jpg?1627307572","poster_credits":"M HKA","translations":[{"locale":"en","description":"\u003cp\u003eSuperfluous drawings Koen \u0026amp; Jef\u003c/p\u003e\u003cp\u003eTwo drawings left over from a session with Koen van den Broek and Jef Lambrecht (one seemingly a cadavre exquis) perhaps from the series shown at an exhibition in the Sasmeesterswoning where AIR was housed – “Donkerte / darkness” 07/07/2007.\u003c/p\u003e\u003cp\u003e(Het Koekoeksjong)\u003c/p\u003e\u003cp\u003ealso to be seen as an “Orininal Imaginaire ed.” (incorporating Gina and Gina in the title.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eOverschot Koen \u0026amp; Jef\u003c/p\u003e\u003cp\u003eTwee tekeningen misschien overgebleven van een tekensessie tussen Koen van den Broek en Jef Lambrecht, (een blijkbaar cadavre exquis) misschien voor de expo in de Sasmeesterswoning-AIR 'Donkerte/Darkness' 07 /07/2007\u003c/p\u003e\u003cp\u003e(Het Koekoeksjong)\u003c/p\u003e\u003cp\u003eOok als ‘Original Imaginair ed’ te zien - ingevogd signatuur ‘GINA GINA’\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e'Dessins superflus' 'Surplus) Koen \u0026amp; Jef\u003c/p\u003e\u003cp\u003eDeux dessins restants d'une séance avec Koen van den Broek et Jef Lambrecht (dont un apparemment un cadavre exquis) peut-être de la série présentée lors d'une exposition au Maison du gardien de l'écluse où se trouvait le AIR a l'époque – « Donkerte / dark » 07/07/2007.\u003c/p\u003e\u003cp\u003e(sig\u0026nbsp;. «\u0026nbsp;Original Imaginaire (Gina Gina)– Le soit disant Koen van den Broek était là / Gina Lire / KB0707\u0026nbsp;»)\u003c/p\u003e\u003cp\u003eaussi vue comme ‘Original Imaginaire’ (ed.) \u0026nbsp;avec signature GINA GINA incorporé.\u003c/p\u003e"}]}]