[{"id":1084,"title":"The Kiss","dimensions":"432 x 102.5 x 244 cm","date_begin":"1986-01-01","material":"wood, textiles, glass, silver, fluid","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK5216_M29","stream_count_app":53,"permalink":"the-kiss","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/000/001/563/medium_500/Dujourie,%200001%20Lili,%20The%20Kiss,%201987,%20Photo%20Ronny%20Heirman.jpg?1308146561","cached_actor_names":"Lili Dujourie","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/563/large/Dujourie,%200001%20Lili,%20The%20Kiss,%201987,%20Photo%20Ronny%20Heirman.jpg?1308146561","poster_credits":"(c)image: Ronny Heirman","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe Kiss\u003c/em\u003e from 1986 \u0026ndash; with red drapes and a striking bowl, filled with a clear blue liquid \u0026ndash; is a conceptual reconstruction of a classic still life. As in almost all of her work, the artist here creates a hybrid of painting and sculpture. The Flemish Primitives of the fifteenth century and the baroque painters of the seventeenth are important sources of inspiration, which is reflected in, among other things, the considerable amount of staging that goes into each of the works. The round shapes of the velvet and the wood are at odds with the strict geometric construction of the black triangle. The confrontation between the hard and soft materials, and the concealing yet simultaneously revealing character of the red velvet give the work a romantic tension reminiscent of that between Eros and Thanatos.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nText: Hans Willemse\u003cbr /\u003e\r\nTranslations: Michael Meert\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eHaar installatie \u003cem\u003eThe Kiss\u003c/em\u003e uit 1986 \u0026ndash; met rode drapering en een opvallende kom, gevuld met een gifblauwe vloeistof \u0026ndash; is een conceptuele reconstructie van een klassiek stilleven. Net zoals in bijna al haar werk, maakt de kunstenares hier een hybride van schilderkunst en beeldhouwkunst. De Vlaamse Primitieven van de vijftiende eeuw en de barokschilders uit de zeventiende zijn een belangrijke inspiratiebron hiervoor, wat zich onder meer uit in de belangrijke mate aan enscenering die de werken in zich hebben. De ronde vormen van het fluweel en het hout staan haaks op de strenge geometrische constructie van de zwarte driehoek. De confrontatie tussen de harde en de zachte materialen, en het verhullende en tegelijk onthullende karakter van het rode fluweel geven het werk een romantische geladenheid die in de spanning tussen Eros en Thanatos oproept.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTekst: Hans Willemse\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThe Kiss\u003c/em\u003e de 1986 \u0026ndash; un drap\u0026eacute; rouge autour d\u0026rsquo;une coupe remplie d\u0026rsquo;un liquide bleu \u0026ndash; est une reconstitution conceptuelle d\u0026rsquo;une nature morte classique. \u0026Agrave; l\u0026rsquo;instar de l\u0026rsquo;ensemble de son \u0026oelig;uvre ou presque, Dujourie pratique ici une hybridation de la peinture et de la sculpture. Une pratique dont les Primitifs flamands du XV\u003csup\u003ee\u003c/sup\u003e\u0026nbsp;si\u0026egrave;cle et les peintres baroques du XVII\u003csup\u003ee\u003c/sup\u003e\u0026nbsp;si\u0026egrave;cle constituent une source d\u0026rsquo;inspiration importante et qui s\u0026rsquo;exprime, entre autres, par une certaine mise en sc\u0026egrave;ne des \u0026oelig;uvres. Les formes rondes du velours et du bois contrastent avec la construction g\u0026eacute;om\u0026eacute;trique rigoureuse du triangle noir. La mise en regard de mat\u0026eacute;riaux souples et rigides et le caract\u0026egrave;re \u0026agrave; la fois dissimulateur et r\u0026eacute;v\u0026eacute;lateur du velours rouge conf\u0026egrave;rent \u0026agrave; l\u0026rsquo;\u0026oelig;uvre une charge romantique qui \u0026eacute;voque la tension entre \u0026Eacute;ros et Thanatos.\u003cbr /\u003e\r\n\u003cbr /\u003e\r\nTexte: Hans Willemse\u003cbr /\u003e\r\nTraductions: Isabel Grynberg\u003c/p\u003e\r\n"}]},{"id":1085,"title":"Stilleven [Still Life]","dimensions":"4 x ( 390 X 300 mm)","date_begin":"1976-01-01","material":"collage on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"M HKA, Antwerp / Vlaamse Gemeenschap","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e4 collages in total (inv. no BK7190\u0026nbsp; -\u0026nbsp; BK7190_4)\u003c/p\u003e\r\n","date_end":null,"reference":"BK7190","stream_count_app":75,"permalink":"stilleven-still-life","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Lili Dujourie","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/000/017/086/large/DSC_5529.jpg?1367852126","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eIn the mid-1970s Lili Dujourie made the series of collages \u003cem\u003eStill Life\u003c/em\u003e, to which these four works belong, the same period when she was making her video works. This work may be seen as between her early, minimalist-conceptual period and her later, more theatrical period. This transition is evident throughout \u003cem\u003eStill Life\u003c/em\u003e: the compositions are intentionally minimalistic, but the creases, tears and overlaps also suggest a drama that makes us think of her later velvet sculptures. The collages are largely made of colored paper without further figurative elements, bonded to a white-paper background. As so often in her oeuvre, Dujourie\u0026rsquo;s use of the title \u003cem\u003eStill Life\u003c/em\u003e\u0026nbsp;is a reference to traditions from the history of art. Visually speaking, however, these abstract collages have little to do with the classical, figurative still life: they do not depict anything and display nothing other than their own forms. And still, the texture of the torn edges, the overlaps and use-of-color lend an impression of three-dimensionality, almost as in a painting. Moreover, just like the painters of still lifes, Dujourie shows much regard for texture, composition and material. In this way she joins a centuries-old tradition, albeit in her own particular manner.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eLili Dujourie vervaardigde de reeks collages \u003cem\u003eStilleven\u003c/em\u003e, waartoe deze vier collages behoren, midden jaren \u0026#39;70, dezelfde tijd als die waarin ze haar videowerken maakte. Daarmee ligt dit werk tussen haar vroege, minimalistisch-conceptuele periode en haar latere, meer theatrale periode in. Die overgang is zichtbaar doorheen \u003cem\u003eStilleven\u003c/em\u003e: de composities zijn minimalistisch van opzet, maar de kreukels, scheuren en overlappingen suggereren ook een dramatiek die bijvoorbeeld aan haar latere fluweelsculpturen doet denken. De collages zijn grotendeels gemaakt van gekleurd papier zonder verdere figuratieve elementen, geplakt op een witpapieren achtergrond. Zoals zo vaak in haar oeuvre maakt Dujourie met het gebruik van de titel \u003cem\u003eStilleven\u003c/em\u003e\u0026nbsp;een verwijzing naar de tradities van de kunstgeschiedenis. Deze abstracte collages hebben visueel echter weinig van doen met het klassieke, figuratieve stilleven: ze beelden niets af en geven niets dan hun eigen vormen weer. Toch geven de textuur van de afgescheurde randen, de overlappingen en het kleurgebruik de indruk van driedimensionaliteit, bijna als in een schilderij. Tevens toont Dujourie net als schilders van stillevens veel aandacht voor textuur, compositie en materiaal. Zo positioneert ze zichzelf op haar manier binnen een eeuwenoude traditie.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLili Dujourie a r\u0026eacute;alis\u0026eacute; la s\u0026eacute;rie de collages \u003cem\u003eStilleven\u003c/em\u003e, dont ces quatre collages font partie, au milieu des ann\u0026eacute;es \u0026#39;70, en m\u0026ecirc;me temps qu\u0026#39;elle cr\u0026eacute;ait ses \u0026oelig;uvres vid\u0026eacute;o. Ainsi, son \u0026oelig;uvre se situe entre sa pr\u0026eacute;c\u0026eacute;dente p\u0026eacute;riode minimaliste-conceptuelle et sa p\u0026eacute;riode ult\u0026eacute;rieure, plus th\u0026eacute;\u0026acirc;trale. Cette transition est visible \u0026agrave; travers \u003cem\u003eStilleven\u003c/em\u003e : les compositions ont une structure minimaliste mais les plis, les fissures et les chevauchements sugg\u0026egrave;rent \u0026eacute;galement un aspect dramatique qui fait penser, par exemple, \u0026agrave; ses sculpture en velours plus tardives. Les collages sont faits en grande partie de papier color\u0026eacute; sans autres \u0026eacute;l\u0026eacute;ments figuratifs, coll\u0026eacute;s sur un fond en papier blanc. Comme si souvent dans son \u0026oelig;uvre, Dujourie fait une r\u0026eacute;f\u0026eacute;rence, en utilisant le titre \u003cem\u003eStilleven\u003c/em\u003e,\u0026nbsp;aux traditions de l\u0026#39;histoire de l\u0026#39;art. Toutefois, ces collages abstraits n\u0026#39;ont pas grand-chose \u0026agrave; voir, visuellement, avec la nature morte classique, figurative : ils ne repr\u0026eacute;sentent rien et ne reproduisent rien d\u0026#39;autre que leurs propres formes. Et pourtant, la texture des bords d\u0026eacute;chir\u0026eacute;s, les chevauchements et l\u0026#39;utilisation des couleurs donnent l\u0026#39;impression de trois dimensions, presque comme dans une peinture. Dujourie montre \u0026eacute;galement que tout comme les peintres de natures mortes, elle accorde une grande attention \u0026agrave; la texture, \u0026agrave; la composition et au mat\u0026eacute;riau. Ainsi, elle se positionne \u0026agrave; sa mani\u0026egrave;re dans une tradition s\u0026eacute;culaire.\u003c/p\u003e\r\n"}]},{"id":1083,"title":"Amerikaans Imperialisme [American Imperialism]","dimensions":"","date_begin":"1972-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":58,"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":"BK7189","stream_count_app":32,"permalink":"amerikaans-imperialisme-american-imperialism","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Lili Dujourie","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/706/large/BK%207189%20Lili%20Dujourie%20photo%20M%20HKAclinckx.jpg?1308296056","poster_credits":"© M HKA","translations":[{"locale":"en","description":"\u003cp\u003eAmerican Imperialism brings to a close Lili Dujourie\u0026rsquo;s early working period from 1967 to 1972. It references minimalism, a mainly American movement in the art of the sixties that included such artists as Donald Judd, Carl Andre and Richard Serra. But the title voices critique of the beginning global dominance of minimalist sculpture, as well as the imperial politics that accompanied it. Dujourie\u0026rsquo;s response was to work even more minimally. In the late sixties she produced sculptures from iron sheet and rods. She soon became interested in the struggle between balance and gravity. A steel sheets is leaning against the wall, creating a triangular space of emtiness. The wall is painted except for the area behind the sheet. This is a crucial element. The interruption of the monochrome wall can be interpreted as a subtle condemnation of the superficiality of internationalism. This is the part that remains unpainted, unspoiled. The work embodies Dujourie\u0026rsquo;s analysis of seeing, of looking at art, and her acceptance of the limitations that come with each art practice. During the same years she was developing a pioneering and very personal practice as a video artist. One can never see an object in its entirety, whether it is still or moving. This opening between the sheet and the wall is a reference to a hidden past and present.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet werk Amerikaans Imperialisme besluit de periode van haar vroege werk tussen 1967 en 1972. Het behoort tot het minimalisme, in essentie vooral een Amerikaanse beweging met kunstenaars als Richard Serra en Barnett Newman. Maar de titel insinueert een kritiek op de toenmalige dominantie van de minimalistische sculpturen in Amerika en de daarbij behorende politiek. Dujourie\u0026rsquo;s antwoord hierop was om nog minimaler te werken. De aanwezigheid van het kunstwerk is terloops bedoeld, alsof het werk er per toeval staat. Het is niet de bedoeling om haar werk op te dringen aan de toeschouwer. Eind jaren \u0026rsquo;60 begon ze met deze minimalistische sculpturen, bestaande uit ijzeren platen en staven. De kunstenares raakte al snel ge\u0026iuml;nteresseerd in de strijd tussen evenwicht en zwaartekracht. Stalen platen leunen tegen mekaar en vormen zo een driehoek in een wankele balans. Zonder de onderdelen te lassen houden ze elkaar recht, houden ze elkaar op hun plaats. Deze vroege werken zijn voor haar evenwichtsoefeningen, sculpturen die niet echt sculpturen zijn. De muur, waartegen de stalen plaat leunt, is volledig beschilderd behalve het deel achter de plaat. De muur is hier een cruciaal element, de omgeving wordt door de plaat erbij betrokken. De onderbreking van het monochrome vlak op de muur achter de plaat kan ge\u0026iuml;nterpreteerd worden als een veroordeling van de oppervlakkigheid van het internationalisme. Dat wat aan het oppervlak ontsnapt, blijft onbeschilderd, oftewel onbevlekt. Het werk is een analyse van kijken naar kunst en het aanvaarden van de beperkingen hierin. Men kan nooit een object in zijn volledigheid zien. De opening tussen de plaat en de muur verwijst subtiel naar een verborgen verleden \u0026eacute;n heden tegelijk.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eL\u0026rsquo;\u0026oelig;uvre Amerikaans Imperialisme conclut la premi\u0026egrave;re p\u0026eacute;riode de Lili Dujourie, entre 1967 et 1972. Elle r\u0026eacute;f\u0026egrave;re au minimalisme, un courant essentiellement \u0026eacute;tats-unien des ann\u0026eacute;es 60, avec pour figures de proue, entre autres, Donald Judd, Carl Andre et Richard Serra. Le titre de l\u0026rsquo;\u0026oelig;uvre formule une critique de la domination des sculptures minimalistes \u0026agrave; l\u0026rsquo;\u0026eacute;poque et, par extension, de la politique dominatrice des \u0026Eacute;tats-Unis. Dujourie y r\u0026eacute;pond en cr\u0026eacute;ant des \u0026oelig;uvres encore plus minimalistes. \u0026Agrave; la fin des ann\u0026eacute;es 60, elle entame cette s\u0026eacute;rie d\u0026rsquo;\u0026oelig;uvres minimalistes compos\u0026eacute;es de plaques et de barres m\u0026eacute;talliques. Rapidement, l\u0026rsquo;artiste s\u0026rsquo;int\u0026eacute;resse au conflit entre l\u0026rsquo;\u0026eacute;quilibre et la gravit\u0026eacute;. Une plaque m\u0026eacute;tallique s\u0026rsquo;appuie contre le mur et constitue ainsi un vide triangulaire. Le mur est enti\u0026egrave;rement peint sauf la surface derri\u0026egrave;re la plaque. Ceci est un \u0026eacute;l\u0026eacute;ment crucial : l\u0026rsquo;interruption du mur monochrome peut \u0026ecirc;tre interpr\u0026eacute;t\u0026eacute;e comme un jugement subtile de la superficialit\u0026eacute; de l\u0026rsquo;internationalisme. C\u0026rsquo;est la partie qui n\u0026rsquo;est pas recouverte de peinture, cette partie demeure immacul\u0026eacute;e. L\u0026rsquo;\u0026oelig;uvre incarne l\u0026rsquo;analyse de Dujourie relative \u0026agrave; la contemplation de l\u0026rsquo;art et l\u0026rsquo;acceptation des limites inh\u0026eacute;rentes \u0026agrave; chaque pratique artistique. Au cours des m\u0026ecirc;mes ann\u0026eacute;es, elle a d\u0026eacute;velopp\u0026eacute; une pratique pionni\u0026egrave;re et tr\u0026egrave;s personnelle d\u0026rsquo;artiste vid\u0026eacute;o. On ne peut jamais voir un objet dans sa totalit\u0026eacute;, qu\u0026rsquo;il soit immobile ou dynamique. L\u0026rsquo;espace ouvert entre la plaque et le mur fait r\u0026eacute;f\u0026eacute;rence \u0026agrave; un pass\u0026eacute; et \u0026agrave; un pr\u0026eacute;sent dissimul\u0026eacute;.\u003c/p\u003e\r\n"}]},{"id":461,"title":"Enjambement [Enjambment]","dimensions":"00:20:51","date_begin":"1976-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"video-installation","publishing_process_id":1,"annotation":"","date_end":"1976-01-01","reference":"BK006163","stream_count_app":37,"permalink":"enjambement-enjambment","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Lili Dujourie","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/994/large/Dujourie,%20Lili,%20Enjambement,%201976%20video%20still2.jpg?1304063139","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003eIn \u003cem\u003eMadrigal\u0026nbsp;\u003c/em\u003eand \u003cem\u003eEnjambment\u003c/em\u003e\u0026nbsp;a bare wooden floor fills the screen. The dressed figures \u0026ndash; a woman and a man respectively \u0026ndash; roll, fold and unfold themselves, in between alternating interludes. \u003cem\u003eMadrigal\u003c/em\u003e\u0026nbsp;is a continuation of the \u003cem\u003eHommages\u003c/em\u003e\u0026nbsp;series, in which Lili Dujourie investigates the image of the naked body. In this series of videos the artist herself often plays the model. In this work, Lili Dujourie unexpectedly turns behind her back and stares into the camera with a foggy gaze. The image suddenly comes into focus, the overview disappears. A madrigal is a musical composition for several voices. The picking of this title is determined by the poetic quality of the word, by the associations and memories the concept of the madrigal evokes from the artist. In 1976 Lili Dujourie elaborated this idea, this time using a man as the model. There is hardly any difference. The man rolls over the floor, just like Lili in \u003cem\u003eMadrigal\u003c/em\u003e, but it takes a while before you realize it is a man. The title \u0026lsquo;enjambment\u0026rsquo; refers to the deceleration in the rhythmical progression of a love poem. With \u003cem\u003eEnjambment\u003c/em\u003e the artist wishes to approach the male in all his fragility, not in his toughness or strength. She wanted to \u0026ldquo;capture something in the male nude which leans towards the female side of the male\u0026rdquo;.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn \u003cem\u003eMadrigaal\u003c/em\u003e\u0026nbsp;en \u003cem\u003eEnjambement\u003c/em\u003e\u0026nbsp;vult een kale houten vloer het scherm. Strak in beeld gebracht rolt, vouwt en ontvouwt elk van de geklede figuren \u0026ndash; respectievelijk een vrouw en een man \u0026ndash; zichzelf op, tussen wisselende pauzes in. \u003cem\u003eMadrigaal\u003c/em\u003e\u0026nbsp;borduurt verder op de reeks \u003cem\u003eHommages\u003c/em\u003e, waarin Lili Dujourie het beeld van het naakte lichaam onderzoekt. In deze reeks video\u0026rsquo;s speelt de kunstenares ook vaak zelf het model. In dit werk keert Lili Dujourie zich onverwacht om van op de rug en staart ze met een glazige blik in de camera. Het beeld krijgt hier plots een focus, het overzicht verdwijnt. Een madrigaal is een muzikale, meerstemmige compositie. De keuze voor de titel wordt bepaald door de po\u0026euml;tische kwaliteit van het woord, door de associaties en herinneringen die een begrip als madrigaal oproepen bij de kunstenares. In 1976 werkt Lili Dujourie dit idee verder uit, deze keer met een man als model: \u0026ldquo;om te testen wat het zou opleveren om de basisidee van \u003cem\u003eMadrigaal\u003c/em\u003e\u0026nbsp;uit te werken met een man\u0026rdquo;. Er blijkt nauwelijks verschil. De man maakt rollende bewegingen over de grond, net als Lili Dujourie in \u003cem\u003eMadrigaal\u003c/em\u003e\u0026nbsp;\u0026ndash; maar het duurt enige tijd vooraleer je merkt dat het om een man gaat. De titel \u0026lsquo;enjambement\u0026rsquo; is een verwijzing naar een vertraging in de ritmische voortgang van een liefdesgedicht. Met \u003cem\u003eEnjambement\u0026nbsp;\u003c/em\u003ewil de kunstenares een man in zijn fragiliteit benaderen, niet in zijn stoerheid of kracht. De kunstenares wilde met \u003cem\u003eEnjambement\u003c/em\u003e\u0026nbsp;\u0026ldquo;uit het mannelijk naakt iets halen dat naar de vrouwelijke kant van de man neigt\u0026rdquo;.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":182,"title":"Hommage à ... III","dimensions":"00:37:02","date_begin":"1972-01-01","material":"video","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":21,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK006159","stream_count_app":53,"permalink":"hommage-a-iii","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/000/000/307/medium_500/Dujourie,%200002%20Lili,%20Hommage%20%C3%A0...III,2002,%20still.jpg?1300366343","cached_actor_names":"Lili Dujourie","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/307/large/Dujourie,%200002%20Lili,%20Hommage%20%C3%A0...III,2002,%20still.jpg?1300366343","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHommage \u0026agrave; ...III\u003c/em\u003e\u0026nbsp;(from a series of 5 \u003cem\u003eHommages\u003c/em\u003e from 1972) is one of the first filmed works by Lili Dujourie. It takes place during the experimental stage of video art, when video recording technology was still in its infancy. The work is recorded in real time, without additional montage work, and shows a space that unfolds over time and a character who remains bound to this space. Sensuality, the passage of time and boredom all feature in her video work. In this video the model \u0026ndash; Dujourie herself \u0026ndash; plays not only the role of object, but is also the subject of the work; she fuses into artist and viewer, throughout the entire process Dujourie literally monitors herself. Also see\u0026nbsp;\u003ca href=\"http://ensembles.mhka.be/items/181\"\u003eHommage \u0026agrave; \u0026hellip;1\u003c/a\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHommage \u0026agrave; \u0026hellip;III\u003c/em\u003e\u0026nbsp;(uit een reeks van 5 \u003cem\u003eHommages\u003c/em\u003e uit 1972) is een van de eerste videowerken van Lili Dujourie. Het situeert zich binnen het experimentele stadium van de videokunst, als de video-opnametechnologie nog in haar kinderschoenen staat. Het werk wordt opgenomen in real time, zonder montage. Het toont een ruimte die zich ontvouwt in de tijd \u0026eacute;n een personage dat in die ruimte vastzit. Sensualiteit, het verstrijken van de tijd en verveling gaan hand in hand. In deze video is het model \u0026ndash; Dujourie zelf \u0026ndash; niet enkel het object van het werk maar ook subject; zowel de kunstenares als de kijker, want Dujourie monitort letterlijk zichzelf tijdens het proces. Zie ook \u003ca href=\"http://ensembles.mhka.be/items/181\"\u003eHommage \u0026agrave; \u0026hellip;1\u003c/a\u003e.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":717,"title":"Koraal [Coral]","dimensions":"00:06:23","date_begin":"1978-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"video-installation","publishing_process_id":1,"annotation":"","date_end":"1978-01-01","reference":"BK006158","stream_count_app":34,"permalink":"koraal-coral","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Lili Dujourie","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/469/large/Dujourie_Lili_Koraal_1978%20still1.jpg?1306918067","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eKoraal\u003c/em\u003e [Choral] shows, in a grainy black and white, the hands of the artist peeling an orange and elegantly and tenderly dividing it into segments. By zooming in on this ordinary action the images are given an almost ritual character. The title of the work alludes to this ritual element. Lili Dujourie links the choral, a protestant hymn, to the movement of the hands, which evokes a certain rhythm and creates a silence. The picking of this title is determined by the poetic quality of the word \u0026lsquo;choral\u0026rsquo;, by the associations and memories it evokes from the artist. There is no storyline, only a registration of minimal gestures. The passing of time, a crucial theme in Dujourie\u0026rsquo;s work, becomes palpable. The use of black and white defines the nature of the work. The image of the orange is immediately associated with colour, as a result of which the orange \u0026lsquo;filters through\u0026rsquo; in the image. The emphasis is rather on the action, than on the form or colour. The peeling of the orange has a sensual character, but the orange is also eaten: according to the artist, \u003cem\u003eChoral\u003c/em\u003e is about destroying things out of love.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn \u003cem\u003eKoraal\u003c/em\u003e zie je, in een korrelig zwart-wit beeld, de handen van de kunstenares die een sinaasappel schillen en met elegante, tedere bewegingen de sinaasappel in partjes verdelen. Het inzoomen op deze alledaagse handeling geeft de beelden een bijna ritueel karakter. De titel van het werk alludeert op dat rituele element. Lili Dujourie verbindt de koraal, een protestantse samenzang, met de beweging van de handen die een bepaald ritme oproept en een verstilling cre\u0026euml;ert. De keuze voor de titel wordt bepaald door de po\u0026euml;tische kwaliteit van \u0026lsquo;koraal\u0026rsquo;, door de associaties en herinneringen die dat begrip oproepen bij de kunstenares. In het werk ontbreekt elke verhaallijn, er is enkel een registratie van minimale handelingen. Hierdoor wordt het verstrijken van de tijd, een cruciaal thema in Dujourie\u0026rsquo;s werk, voelbaar. Het gebruik van zwart-wit bepaalt mee het karakter van het werk. Het beeld van de sinaasappel associeer je onmiddellijk met kleur, waardoor het oranje \u0026lsquo;doorschemert\u0026rsquo; in het beeld. De klemtoon komt meer te liggen op de handeling, dan op de vorm en de kleur. Het pellen van de sinaasappel heeft een sensueel karakter, maar de sinaasappel wordt ook opgegeten: \u003cem\u003eKoraal \u003c/em\u003egaat voor de kunstenares over het kapotmaken van dingen uit liefde.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDans \u003cem\u003eKoraal\u003c/em\u003e, vous voyez dans une image granuleuse en noir et blanc les mains de l\u0026#39;artiste qui \u0026eacute;pluchent une orange et qui s\u0026eacute;parent l\u0026#39;orange en tranches avec des gestes \u0026eacute;l\u0026eacute;gants et tendres. La focalisation sur cet acte du quotidien conf\u0026egrave;re aux images un caract\u0026egrave;re presque rituel. Le titre de l\u0026#39;\u0026oelig;uvre fait allusion \u0026agrave; cet \u0026eacute;l\u0026eacute;ment rituel. Lili Dujourie relie la chorale, un chant collectif protestant, au mouvement des mains qui impose un rythme et cr\u0026eacute;e un apaisement. Le choix du titre est d\u0026eacute;termin\u0026eacute; par la qualit\u0026eacute; po\u0026eacute;tique de la \u0026#39;chorale\u0026#39; gr\u0026acirc;ce aux associations et aux souvenirs qu\u0026#39;\u0026eacute;voquent cette notion pour l\u0026#39;artiste. L\u0026#39;\u0026oelig;uvre est d\u0026eacute;nu\u0026eacute;e de ligne narrative, elle ne comporte qu\u0026#39;un enregistrement d\u0026#39;actions minimales. Par cons\u0026eacute;quent, l\u0026#39;\u0026eacute;coulement du temps, un th\u0026egrave;me crucial dans l\u0026#39;\u0026oelig;uvre de Dujourie, est perceptible. L\u0026#39;utilisation du noir et blanc contribue au caract\u0026egrave;re de l\u0026#39;\u0026oelig;uvre. L\u0026#39;image de l\u0026#39;orange est imm\u0026eacute;diatement associ\u0026eacute;e \u0026agrave; la couleur, en cons\u0026eacute;quence de quoi la couleur orange \u0026#39;filtre\u0026#39; \u0026agrave; travers l\u0026#39;image. L\u0026#39;accent est plut\u0026ocirc;t mis sur l\u0026#39;acte que sur la forme et la couleur. L\u0026#39;\u0026eacute;pluchage de l\u0026#39;orange a un caract\u0026egrave;re sensuel mais l\u0026#39;orange est \u0026eacute;galement mang\u0026eacute;e : \u003cem\u003eKoraal \u003c/em\u003eparle d\u0026#39;ab\u0026icirc;mer les choses par amour pour l\u0026#39;artiste.\u003c/p\u003e\r\n"}]},{"id":1092,"title":"Effen spiegel van een stille stroom","dimensions":"00:13:43","date_begin":"1976-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK006160","stream_count_app":34,"permalink":"effen-spiegel-van-een-stille-stroom","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Lili Dujourie","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/005/698/large/Dujouri,Lili,%20Effen%20spiegel%20van%20een%20stille%20stroom,%201976%20still%203.jpg?1326468258","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eAn unadorned, stark interior surrounds the image of a woman in *Effen spiegel van een stille stroom* [Smooth mirror of a silent stream]. It is only when the woman disappears from our field of view that it becomes clear that the space on the right side of the screen is a mirror, reflecting the space behind the camera. The whole figure is only visible via the reflection. The mirror is an ambiguous motif in Dujourie\u0026#39;s works. It refers to deception and a simultaneous absence/presence in relation to what our glance takes in. Additionally, the mirror is a means of montage: it permits spaces to be in-frame together. In this way, the piece creates an extra space, below-right next to the hearth. In a small, limited space there suddenly arises a larger space, which nonetheless remains within the compactness of the image. Lili Dujourie shows us a space that unfolds in time, along with a protagonist caught in that space, who is bored, who waits, not quite knowing which way to turn. At the end of *Effen spiegel met een stille stroom*, Lili Dujourie poses in front of the mirror and lights a cigarette. A moment of \u0026#39;reflexive boredom\u0026#39; as surprising epilogue to a work where most attention turns to the relationship with the space. On this, the artist says the following:*\u0026ldquo;I think that I have the need for this sort of disturbing element, something quite minimal that doesn\u0026#39;t chime with the scenario, and that makes the connection with boredom, with everydayness - and especially with poetry.\u0026rdquo;*\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEen kaal, strak interieur omgeeft het beeld van de vrouw in *Effen spiegel van een stille stroom*. Het is pas wanneer de vrouw uit het blikveld verdwijnt, dat duidelijk wordt dat de rechterzijde van het scherm een spiegel is, die de ruimte achter de camera weerspiegelt. De gehele figuur is slechts zichtbaar door de reflectie. De spiegel is een dubbelzinnig motief in de werken van Dujourie. Het verwijst naar misleiding en een gelijktijdige aan- en afwezigheid in relatie tot de blik. Ook is deze spiegel een montagemiddel: het laat toe ruimtes in elkaar te monteren. Zo wordt er in dit werk een extra ruimte gecre\u0026euml;erd, rechts achteraan naast de haard. In een kleine, beperkte ruimte ontstaat op die manier plots een grotere ruimte, die toch binnen de compactheid van het beeld blijft. Lili Dujourie toont een ruimte die zich ontvouwt in de tijd \u0026eacute;n een personage dat in de ruimte vastzit, zich verveelt, wacht, niet goed weet welke kant het op moet. Aan het eind van *Effen spiegel met een stille stroom* zet Lili Dujourie zich voor de spiegel en steekt een sigaret op. Een moment van \u0026lsquo;reflexieve verveling\u0026rsquo; als verrassende epiloog in een werk waarin verder de meeste aandacht naar de verhouding met de ruimte gaat. De kunstenares zegt hierover het volgende: *\u0026ldquo;Ik denk dat ik behoefte heb aan zo\u0026rsquo;n storend element, iets miniems dat niet klopt met het scenario en dat de link legt met verveling, met alledaagsheid \u0026ndash; en vooral met po\u0026euml;zie.\u0026rdquo;*\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":7066,"title":"Lili Dujourie 'Uittreksels uit video's 1972-1978/Extraits de vidéos 1972-1978/Excerpts from videos 1972-1978/Exzerpten von Video's 1972-1978'","dimensions":"29.5 x 20.9 cm, publisher : ICC/Internationaal Cultureel Centrum, Antwerpen","date_begin":"1978-01-01","material":"Ink, paper","short_description":"\u003cp\u003eICC publication.\u003c/p\u003e\r\n\r\n\u003cp\u003eExhibition : ICC/Internationaal Cultureel Centrum, Antwerpen (27.5. - 25.6.1978).\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collectie M HKA, Antwerp","cached_tag_list":"Artist publication ; Artist catalogue ; Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1997/326","stream_count_app":18,"permalink":"lili-dujourie-uittreksels-uit-video-s-1972-1978-extraits-de-videos-1972-1978-excerpts-from-videos-1972-1978-exzerpten-von-video-s-1972-1978","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Lili Dujourie","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/000/016/201/large/DSC_5077.jpg?1366024450","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1093,"title":"Passion de l'été pour l'hiver (Oostende)","dimensions":"00:15:31","date_begin":"1981-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK006161","stream_count_app":30,"permalink":"passion-de-l-ete-pour-l-hiver-oostende","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Lili Dujourie","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/005/696/large/Dujouri,%20Lili,%20Passion%20de%20l'%C3%A9t%C3%A9%20pour%20d'hiver,%201981-3.jpg?1326468118","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":14328,"title":"Untitled","dimensions":"18 x 24 cm (x 6)","date_begin":"1977-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Verzameling F. De Beir","cached_tag_list":"Lili Dujourie","publishing_process_id":1,"annotation":"\u003cp\u003ereeks van 6 kleine foto\u0026#39;s, ingekaderd, mannelijk naakt\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":13,"permalink":"untitled-edb67e50-5bdf-4d67-8157-f1c6a5a5e884","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/000/032/673/large/2016_Van_Broodthaers_tot_Braeckman__1.jpg?1475501184","poster_credits":"image: (c) M HKA, Verzameling F. De Beir","translations":[{"locale":"en","description":"\u003cp\u003eLili Dujourie uses the same model from het video \u003cem\u003eEnjambement\u003c/em\u003e for this series of black and white photographs from 1977. The models rolls across the floor and it\u0026rsquo;s not always clear whether it\u0026rsquo;s a male or a female model. These photos are a precursor for the colour photos with female nudes that appear later.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn her series Dujourie explores not just the sculptural qualities of the human body, but also its fragility.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eLili Dujourie gebruikt hetzelfde model dat ook voorkomt in de video \u003cem\u003eEnjambement\u003c/em\u003e, voor deze reeks zwart-wit foto\u0026rsquo;s uit 1977. Het model rolt over de vloer en het is niet altijd duidelijk of het een man of een vrouw is. Deze foto\u0026rsquo;s zijn een voorbode voor de latere kleurenfoto\u0026rsquo;s met vrouwelijk naakt.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn haar fotoreeksen verkent Dujourie niet alleen de sculpturale kwaliteiten van het menselijk lichaam, maar ook de fragiliteit ervan.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003ePour cette s\u0026eacute;rie en noir et blanc de 1977, Lili Dujourie utilise le m\u0026ecirc;me mod\u0026egrave;le que dans la vid\u0026eacute;o \u003cem\u003eEnjambement\u003c/em\u003e. Le mod\u0026egrave;le roule sur le sol et il n\u0026rsquo;est pas toujours \u0026eacute;vident de savoir si c\u0026rsquo;est un homme ou une femme. Ces photographies annoncent les photos en couleur plus r\u0026eacute;centes de nus f\u0026eacute;minins.\u003c/p\u003e\r\n\r\n\u003cp\u003eDans ses s\u0026eacute;ries de photographies, Lili Dujourie explore non seulement les qualit\u0026eacute;s sculpturales du corps humain, mais aussi sa fragilit\u0026eacute;.\u003c/p\u003e\r\n"}]},{"id":14329,"title":"Rood naakt","dimensions":"45 x 45 cm","date_begin":"1983-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Verzameling F. De Beir","cached_tag_list":"Lili Dujourie","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"rood-naakt","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/033/060/large/1_12.jpg?1475830887","poster_credits":"image: (c) M HKA, Verzameling F. De Beir","translations":[{"locale":"en","description":"\u003cp\u003eThe link between photography and painting in the oeuvre of Lili Dujourie is made apparent in this piece through several different traits. First of,\u0026nbsp;the red velvet backdrop recalls the rich portrayal of textiles by the Flemish Primitives or the Baroque painters. The female nude is also a recurrent theme in painting. And finally the photo is printed on canvas and framed, which ties the characteristics of the two media together.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eUntitled (red nude)\u003c/em\u003e is an indication of Dujourie\u0026rsquo;s works to come in textile.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn dit werk wordt de link tussen fotografie en schilderkunst in het oeuvre van Lili Dujourie duidelijk gemaakt door enkele verschillende eigenschappen. Als eerste roept de rood fluwelen achtergrond de weergave van textiel bij de Vlaamse Primitieven of de Barok schilders op, ook het vrouwelijk naakt is een vaak weerkerend thema in de schilderkunst. Vervolgens is de foto gedrukt op canvas en ingekaderd, waardoor de kenmerken van de twee media in elkaar vloeien.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eZonder titel (rood naakt)\u003c/em\u003e is een voorbode voor het\u0026nbsp;latere werk\u0026nbsp;in textiel van Dujourie.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eQuelques caract\u0026eacute;ristiques diverses de cette pi\u0026egrave;ce permettent de clairement \u0026eacute;tablir le lien entre la photographie et la peinture dans l\u0026rsquo;\u0026oelig;uvre de Lili Dujourie. L\u0026rsquo;arri\u0026egrave;re-plan de velours rouge \u0026eacute;voque en premier lieu la reproduction du textile chez les Primitifs flamands ou dans les peintres baroques\u0026nbsp;; la femme nue est aussi un th\u0026egrave;me r\u0026eacute;current dans la peinture. Ensuite, la photographie est imprim\u0026eacute;e sur toile puis encadr\u0026eacute;e, permettant aux sp\u0026eacute;cificit\u0026eacute;s des deux m\u0026eacute;dias de se fondre.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eZonder titel (rood naakt)\u003c/em\u003e annonce les \u0026oelig;uvres en textile que Lili Dujourie r\u0026eacute;alisera par la suite.\u003c/p\u003e\r\n"}]},{"id":14422,"title":"Zonder titel (Blauw naakt)","dimensions":"","date_begin":"1980-01-01","material":"Diaprojectie","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collectie M HKA, Collectie Vlaamse Gemeenschap","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7191","stream_count_app":20,"permalink":"blauw-naakt","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Lili Dujourie","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/000/033/148/large/2016_Van_Broodthaers_tot_Braeckman__9_2.jpg?1475830248","poster_credits":"image: © M HKA, Collectie M HKA, Collectie Vlaamse Gemeenschap","translations":[{"locale":"en","description":"\u003cp\u003eAfter her experiments with video, Lili Dujourie turns to slide projection. \u003cem\u003eUntitled (Blauw naakt \u003c/em\u003e(Blue Nude)) is a projection with two slides of a female nude in front of a blue drape. The two images which are projected next to one another, are distinguished by a different pose. The naked woman and the drape refer to the baroque, more in particular to Eve on Van Eyck\u0026#39;s\u0026nbsp;\u003cem\u003eThe\u003c/em\u003e \u003cem\u003eAdoration of the Mystic Lamb\u003c/em\u003e. The model becomes a tableau vivant.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eUntitled (Blauw naakt)\u003c/em\u003e\u0026nbsp;is Dujouries first work in which velvet plays a prominent role. Afterwards, she\u0026#39;ll often make use of this fabric. \u003cem\u003eUntitled (Blauw naakt)\u003c/em\u003e is a contemporary still life because the model\u0026#39;s environment is consciously shown \u0026ndash; a piece of the floor, a heater. It isn\u0026rsquo;t a portrait.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eNa haar experimenten met video, keert Lili Dujourie zich tot de diaprojectie. \u003cem\u003eZonder titel (Blauw naakt)\u003c/em\u003e bestaat uit\u0026nbsp;twee diaprojecties in kleur van een vrouwelijk naakt voor een blauwe drapering. De twee beelden, die naast elkaar worden geprojecteerd, onderscheiden zich door een verschillende pose. De naakte vrouw en de drapering verwijzen naar de barok, meer bepaald naar Eva op het \u003cem\u003eLam Gods\u003c/em\u003e. Het model wordt een tableau vivant.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eZonder titel (Blauw naakt)\u003c/em\u003e is het eerste werk van Dujourie waarin fluweel een prominente rol speelt. Nadien maakt ze vaak gebruik van deze stof. \u003cem\u003eZonder titel (Blauw naakt)\u003c/em\u003e is een hedendaags stilleven, door het bewust tonen van de omgeving van het model \u0026ndash; een stuk van de vloer, een verwarmingselement, en geen portret.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eApr\u0026egrave;s ses exp\u0026eacute;riences avec la vid\u0026eacute;o, Lili Dujourie se tourne vers la projection de diapositives. \u003cem\u003eBlauw naakt\u003c/em\u003e est une projection de diapositives en deux couleurs d\u0026rsquo;un nu f\u0026eacute;minin devant un drap\u0026eacute; bleu. Les deux images, projet\u0026eacute;es l\u0026rsquo;une \u0026agrave; c\u0026ocirc;t\u0026eacute; de l\u0026rsquo;autre, se diff\u0026eacute;rencient par une pose diff\u0026eacute;rente. La femme nue et le drap\u0026eacute; r\u0026eacute;f\u0026egrave;rent au baroque, plus pr\u0026eacute;cis\u0026eacute;ment \u0026agrave; l\u0026rsquo;\u0026Egrave;ve de l\u0026rsquo;\u003cem\u003eAgneau mystique\u003c/em\u003e. Le mod\u0026egrave;le devient un tableau vivant.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eBlauw naakt\u003c/em\u003e est la premi\u0026egrave;re \u0026oelig;uvre de Dujourie dans laquelle le velours joue un r\u0026ocirc;le pr\u0026eacute;pond\u0026eacute;rant. Depuis, elle fait souvent usage de ce tissu. Par la pr\u0026eacute;sentation d\u0026eacute;lib\u0026eacute;r\u0026eacute;e de l\u0026rsquo;environnement du mod\u0026egrave;le \u0026ndash; une partie du plancher, un \u0026eacute;l\u0026eacute;ment du radiateur \u0026ndash; \u003cem\u003eBlauw naakt\u003c/em\u003e est une nature morte contemporaine, non pas un portrait.\u003c/p\u003e\r\n"}]},{"id":181,"title":"Hommage à ... I","dimensions":"00:21:18","date_begin":"1972-01-01","material":"","short_description":"\u003cp\u003eLili Dujourie is trying to push the space of perception and awareness from a social political non-discursive fundamental feminine position. She is always on the edge of what is possible and of what might fail, trying to push this edge. Searching on this challenge towards an autonomous visual proposal; an opening towards a spatial awareness.\u003c/p\u003e","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK006157","stream_count_app":57,"permalink":"hommage-a-i","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Lili Dujourie","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/305/large/Dujourie,%200005%20Lili,Hommage%20%C3%A0...I,%202002,%20still1.jpg?1300361538","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003ci\u003eHommage à …I\u003c/i\u003e\u0026nbsp;(from a series of 5\u003ci\u003e Hommages,\u003c/i\u003e 1972) is one of Lili Dujourie’s first video works. It belongs to the experimental stage of video art, when the technology was still in its infancy. In\u003ci\u003e Hommage à …I\u003c/i\u003e, a naked woman – the artist herself – rolls around in white bed-sheets in slow motion. At first it seems that she’s asleep. But after a while she starts to move, rolls in and out of the bed, in a rhythm that makes one think of the twilight state between wakefulness and sleep. The piece is recorded in real-time, without editing. It shows a space that unfolds in time and a figure that’s caught there. Sensuality, the passage of time, boredom – here they go hand-in-hand. The video links to tradition of the female nude, one of art-history’s most venerable motifs. Lili Dujourie deliberately chooses a theme that had no place in the dominant conceptual art-scene of the 1970s. The artist is also her own model, and explains this choice as follows: “The woman has always been ‘the model’, and I wanted to do away with this – as a woman I could hardly manipulate another woman! (…) If you want to evoke the intimacy of the female nude, then you have to do it yourself, you can’t ask a model to do that for you.” Lili Dujourie redefines conventions regarding the relationship between model and maker, between who’s doing the looking and who’s being looked at. The title refers to a homage to art history. No so much one particular image as the whole of art history, all those images that keep resonating in the artist’s memory. The poses that Dujourie assumes are determined by recollections of nudes from art tradition, in her own words “a physical transformation of everything that I’ve seen in my life”.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ci\u003eHommage à …I\u003c/i\u003e\u0026nbsp;(uit een reeks van 5 \u003ci\u003eHommages\u003c/i\u003e,1972) is één van de eerste videowerken van Lili Dujourie. Het situeert zich binnen het experimentele stadium van de videokunst, toen de video-opnametechnologie nog in haar kinderschoenen stond. In \u003ci\u003eHommage à …I\u0026nbsp;\u003c/i\u003ewentelt een naakte vrouw, de kunstenares zelf, zich in slow motion in de witte lakens van het bed. Het lijkt eerst alsof ze ligt te slapen. Maar na enige tijd begint ze te bewegen, ze rolt in en uit het bed, in een ritme dat doet denken aan de schemertoestand tussen waken en slapen. Het werk werd opgenomen in real time, zonder montage. Het toont een ruimte die zich ontvouwt in de tijd én een personage dat in de ruimte vastzit. Sensualiteit, het verstrijken van de tijd en verveling gaan hand in hand. De video sluit aan bij de traditie van het vrouwelijk naakt, één van de meest klassieke thema’s uit de kunstgeschiedenis. Lili Dujourie kiest bewust voor een thema dat in de door conceptuele kunst gedomineerde jaren ’70 eigenlijk geen plaats had. De kunstenares is tegelijk model. Ze motiveert die keuze als volgt: “De vrouw was altijd model geweest en ik wilde daar komaf mee maken, als vrouw kon ik toch geen andere vrouw manipuleren! […] Als je de intimiteit van vrouwelijk naakt wil oproepen, dan moet je dat zelf doen, zoiets kan je toch niet opleggen aan een model.” Lili Dujourie herdefinieert de conventies omtrent de relaties tussen model en maker, tussen wie kijkt en bekeken wordt. De titel verwijst naar een hommage aan de kunstgeschiedenis. Niet zozeer één bepaald beeld als wel de hele kunstgeschiedenis, alle beelden die in het geheugen van de kunstenares zijn blijven nazinderen. De poses die Lili Dujourie aanneemt, zijn bepaald door herinneringen aan naakten uit de traditie, in haar eigen woorden “een lichamelijke verwerking van alles wat ik in mijn leven gezien had”.\u003c/p\u003e"},{"locale":"fr","description":""}]},{"id":55,"title":"Madrigaal [Madrigal]","dimensions":"00:06:05","date_begin":"1975-01-01","material":"dvd","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK006162","stream_count_app":39,"permalink":"madrigaal-madrigal","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Lili Dujourie","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/049/large/Dujouri_Lili_Madrigaal_1975_still2.jpg?1296731350","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIn *Madrigal* and *Enjambment* a bare wooden floor fills the screen. The dressed figures \u0026ndash; a woman and a man respectively \u0026ndash; roll, fold and unfold themselves, in between alternating interludes. *Madrigal* is a continuation of the *Hommages* series, in which Lili Dujourie investigates the image of the naked body. In this series of videos the artist herself often plays the model. In this work, Lili Dujourie unexpectedly turns behind her back and stares into the camera with a foggy gaze. The image suddenly comes into focus, the overview disappears. A madrigal is a musical composition for several voices. The picking of this title is determined by the poetic quality of the word, by the associations and memories the concept of the madrigal evokes from the artist. In 1976 Lili Dujourie elaborated this idea, this time using a man as the model. There is hardly any difference. The man rolls over the floor, just like Lili in *Madrigal*, but it takes a while before you realize it is a man. The title \u0026lsquo;enjambment\u0026rsquo; refers to the deceleration in the rhythmical progression of a love poem. With Enjambment the artist wishes to approach the male in all his fragility, not in his toughness or strength. She wanted to \u0026ldquo;capture something in the male nude which leans towards the female side of the male\u0026rdquo;.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn *Madrigaal* en *Enjambement* vult een kale houten vloer het scherm. Strak in beeld gebracht rolt, vouwt en ontvouwt elk van de geklede figuren \u0026ndash; respectievelijk een vrouw en een man \u0026ndash; zichzelf op, tussen wisselende pauzes in. *Madrigaal* borduurt verder op de reeks *Hommages*, waarin Lili Dujourie het beeld van het naakte lichaam onderzoekt. In deze reeks video\u0026rsquo;s speelt de kunstenares ook vaak zelf het model. In dit werk keert Lili Dujourie zich onverwacht om van op de rug en staart ze met een glazige blik in de camera. Het beeld krijgt hier plots een focus, het overzicht verdwijnt. Een madrigaal is een muzikale, meerstemmige compositie. De keuze voor de titel wordt bepaald door de po\u0026euml;tische kwaliteit van het woord, door de associaties en herinneringen die een begrip als madrigaal oproepen bij de kunstenares. In 1976 werkt Lili Dujourie dit idee verder uit, deze keer met een man als model: \u0026ldquo;om te testen wat het zou opleveren om de basisidee van *Madrigaal* uit te werken met een man\u0026rdquo;. Er blijkt nauwelijks verschil. De man maakt rollende bewegingen over de grond, net als Lili Dujourie in *Madrigaal* \u0026ndash; maar het duurt enige tijd vooraleer je merkt dat het om een man gaat. De titel \u0026lsquo;enjambement\u0026rsquo; is een verwijzing naar een vertraging in de ritmische voortgang van een liefdesgedicht. Met *Enjambement* wil de kunstenares een man in zijn fragiliteit benaderen, niet in zijn stoerheid of kracht. De kunstenares wilde met *Enjambement* \u0026ldquo;uit het mannelijk naakt iets halen dat naar de vrouwelijke kant van de man neigt\u0026rdquo;.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":32973,"title":"Hommage à ... IV","dimensions":"","date_begin":"1972-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Galerie Micheline Szwajcer, Antwerp","cached_tag_list":"museum in motion","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"hommage-a-iv","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/086/379/medium_500/Stillleven_LD_Micheline_Sywajcer_Hommage_IV.JPG?1662044672","cached_actor_names":"Lili Dujourie","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/086/379/large/Stillleven_LD_Micheline_Sywajcer_Hommage_IV.JPG?1662044672","poster_credits":"(c)Lili Dujourie - Courtesy Micheline Szwajcer, Antwerp","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":32972,"title":"Hommage à ... 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