[{"id":484,"title":"La Correspondance [The Correspondence]","dimensions":"140 x 100 cm","date_begin":"1985-01-01","material":"oil on canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":181,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":1,"collection":"M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1985-01-01","reference":"BK007270","stream_count_app":59,"permalink":"la-correspondance-the-correspondence","description_ru":"","description_de":"\u003cp\u003e\u003cbr /\u003e\r\n\u0026quot;Von 1981 bis 1985 malte ich nicht mehr, weil es mir zu erdr\u0026uuml;ckend und zu existenziell wurde. Dann dr\u0026uuml;ckte mir jemand zuf\u0026auml;llig eine Super-8-Kamera in die Hand, und ich begann zu filmen. Und dann kam ich zur\u0026uuml;ck. Bilder zu machen ist wichtig in dem Sinne, dass man Abstand braucht... Dies war das erste Bild, das nach dem Filmabenteuer entstand. Es ist eigentlich eines meiner konzeptionellsten Werke und basiert auf einer Anekdote. Die Anekdote stammt von einem niederl\u0026auml;ndischen Schriftsteller, der von 1905 bis 1910 in der niederl\u0026auml;ndischen Botschaft t\u0026auml;tig war. Er hatte nicht genug Geld, um seine Frau nach Berlin zu holen. Damals gab es die gro\u0026szlig;en Caf\u0026eacute;s mit sehr b\u0026uuml;rgerlichem Interieur, von denen Postkarten gemacht wurden. Jedes Mal, wenn er in solchen Lokalen essen ging, kaufte er eine Postkarte, strich mit einem Rotstift den Tisch durch, an dem er gegessen hatte, und schickte sie seiner Frau, f\u0026uuml;nf Jahre lang. Deshalb nennt man es Korrespondenz. Es geht auch um die Idee der Beharrlichkeit und des Heimwehs ohne Ende.\u0026quot; \u0026ndash; Luc Tuymans \u0026uuml;ber La Correspondance in \u0026quot;Luc Tuymans: in seinen eigenen Worten\u0026quot; von Bean Gilsdorf\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cbr /\u003e\r\nWie geht es Ihnen? \u0026ndash; die am h\u0026auml;ufigsten gestellte Frage der Ukrainer in Gespr\u0026auml;chen mit ihren Angeh\u0026ouml;rigen. Die Bedeutung des Werks von Tuymans beruht auf dem Gef\u0026uuml;hl und dem Prozess, jemanden zu vermissen, der einem nahesteht, auf eine weitere Nachricht zu warten und eine Form der Korrespondenz zu finden.\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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"\u003cp\u003e\u003cem\u003e\u0026laquo;З 1981 по 1985 рік я не писав картин, бо ця справа стала надто задушливою та екзистенційною. Якось мені випадково потрапила до рук кінокамера формату Super\u003c/em\u003e\u003cem\u003e 8, і я почав знімати. Та потім повернувся до живопису. Створювати зображення важливо, це дає певну дистанцію\u0026hellip; Це перша картина, яку я написав після експериментів з кіноплівкою. \u003c/em\u003e\u003cem\u003eВодночас, це одна з моїх найбільш концептуальних робіт. Її основою стала реальна історія про нідерландського письменника, який з 1905 по 1910 рік жив у посольстві Нідерландів в Берліні. І йому бракувало грошей, щоб привезти з собою дружину. В той час були популярні великі кафе з розкішними інтер\u0026rsquo;єрами, і в них часто продавалися листівки з рекламою закладу. Кожний раз, коли той письменник ходив у такі кафе, він купував листівку, червоним олівцем закреслював на ній столик, за яким щойно пообідав, і відправляв її своїй дружині. Ця переписка тривала п\u0026rsquo;ять років, і саме вона дала назву цій картині. Я хотів передати в ній ідею завзятості та нескінченного відчуття ностальгії\u0026raquo;. \u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eРозповідь Люка Тюйманса про картину \u0026laquo;Переписка\u0026raquo; з книги Бін Гільсдорф \u0026laquo;Люк Тюйманс розповідає про себе\u0026raquo;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026laquo;Як ти?\u0026raquo; Саме це питання українці найчастіше ставлять у розмовах зі своїми рідними. Важливість цієї роботи Тюйманса полягає в тому, що вона передає відчуття та переживання туги за близькою людиною, очікування повідомлення, пошук способу залишатися на зв\u0026rsquo;язку.\u003c/p\u003e\r\n","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/950/large/Tuymans,%20Luc,%20%20La%20Correspondance,%201985%20photo%20M%20HKAclinckx.jpg?1303994439","poster_credits":"©image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026ldquo;I stopped painting from 1981 to 1985 because it became too suffocating and too existential. And somebody by accident shoved a Super-8 camera in my hands and I started to film. And then I came back. Making images is important in the sense that you need distance...This was the first painting made after the film adventure. And it\u0026rsquo;s actually one of my most conceptual works, and it\u0026rsquo;s based upon an anecdote. The anecdote is from a Dutch writer who was stationed in the Dutch Embassy from 1905 to 1910. And he didn\u0026rsquo;t have enough money to bring his wife over to Berlin. And in those days, you had the grand cafes with very bourgeois interiors, and postcards taken of them. So, every time he went to eat in such places he bought a postcard, and with a red pencil he crossed out the table at which he had eaten, and he sent it to his wife for the duration of five years. So that\u0026rsquo;s why it\u0026rsquo;s called correspondence. It\u0026rsquo;s also the idea of persistence, and homesickness without end.\u0026rdquo;\u0026nbsp;\u0026ndash;\u003c/em\u003e Luc Tuymans on\u0026nbsp;La Correspondance\u0026nbsp;in \u0026quot;Luc Tuymans: in his own words\u0026quot; by Bean Gilsdorf\u003c/p\u003e\r\n\r\n\u003cp\u003eHow are you? - the most frequently asked question by Ukrainians in conversations with their loved ones. The significance of the work by Tuymans comes down to the feeling and process of missing somebody close, waiting for another message, finding a way of correspondence.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026ldquo;Van 1981 tot 1985 stopte ik met schilderen, omdat het me te verstikkend en te existentieel was geworden. Ik begon te filmen nadat iemand me toevallig een Super-8-camera had toegestopt. En vervolgens keerde ik terug. Het is belangrijk om beelden te maken omdat je afstand nodig hebt... Dit was mijn eerste schilderij na het filmavontuur. En in feite is het een van mijn meest conceptuele werken, en is het gebaseerd op een anekdote. De anekdote is afkomstig van een Duitse schrijver die van 1905 tot 1910 in de Nederlandse ambassade verbleef. Hij had niet genoeg geld om zijn vrouw te doen overkomen naar Berlijn. En in die tijd had je de grand caf\u0026eacute;s met hun heel bourgeois interieurs, en je had daar ook postkaarten van. Iedere keer dat hij op zo\u0026rsquo;n plek ging eten, kocht hij er dus een postkaart, en met een rood potlood duidde hij de tafel aan waar hij had gegeten, en vijf jaar lang zond hij die kaarten naar zijn vrouw. Dat is dus waarom het correspondentie heet. Het is ook dat idee van volharding, en van heimwee zonder einde.\u0026rdquo;\u003c/em\u003e - Luc Tuymans\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003e\u0026laquo;\u0026nbsp;De 1981 \u0026agrave; 1985, j\u0026#39;ai arr\u0026ecirc;t\u0026eacute; de peindre parce que c\u0026#39;\u0026eacute;tait devenu trop \u0026eacute;touffant et trop existentiel pour moi. J\u0026#39;ai commenc\u0026eacute; \u0026agrave; filmer apr\u0026egrave;s que quelqu\u0026#39;un m\u0026#39;ait pass\u0026eacute; par hasard une cam\u0026eacute;ra Super 8. Ensuite, j\u0026#39;y suis revenu. Il est important de cr\u0026eacute;er des images parce que nous avons besoin de distance... Ceci a \u0026eacute;t\u0026eacute; ma premi\u0026egrave;re peinture apr\u0026egrave;s l\u0026#39;aventure vid\u0026eacute;o. Et en fait, c\u0026#39;est l\u0026#39;une de mes \u0026oelig;uvres les plus conceptuelles et elle est bas\u0026eacute;e sur une anecdote. L\u0026#39;anecdote provient d\u0026#39;un \u0026eacute;crivain allemand qui a r\u0026eacute;sid\u0026eacute; \u0026agrave; l\u0026#39;ambassade des Pays-Bas de 1905 \u0026agrave; 1910. Il n\u0026#39;avait pas suffisamment d\u0026#39;argent pour faire venir sa femme \u0026agrave; Berlin. Et \u0026agrave; cette \u0026eacute;poque, vous n\u0026#39;aviez que les grands caf\u0026eacute;s avec leurs int\u0026eacute;rieurs tr\u0026egrave;s bourgeois et leurs cartes postales. A chaque fois qu\u0026#39;il allait manger dans un endroit de ce genre, il y achetait donc une carte postale et il indiquait au crayon rouge la table \u0026agrave; laquelle il avait mang\u0026eacute;. Pendant cinq ans, il a envoy\u0026eacute; ces cartes \u0026agrave; sa femme. C\u0026#39;est pourquoi l\u0026#39;\u0026oelig;uvre s\u0026#39;appelle La correspondance. C\u0026#39;est \u0026eacute;galement cette id\u0026eacute;e de pers\u0026eacute;v\u0026eacute;rance et de mal du pays sans fin.\u0026nbsp;\u0026raquo;\u003c/em\u003e - Luc Tuymans\u003c/p\u003e\r\n"}]},{"id":4173,"title":"Prague (nr.2)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK006979-002","stream_count_app":25,"permalink":"prague-nr-2","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/653/large/Tuymans__Luc_Prague_nr2.jpg?1343381437","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eLuc Tuymans is undoubtedly one of the most important\u0026nbsp;painters of his generation. Since the late 1980s, he also starts working with a variety of printing techniques, yet his graphic work often remains overlooked. Tuymans experiments with techniques and supports to transform basic material that has its origin in photos, videos, computer images or polaroids into new images. The basis of these works are super-8 films\u0026nbsp;from the 80s. Tuymans harbours a fundamental distrust of the truth value of images. The dark and disturbing works cast a ghostly\u0026nbsp;light on history.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eLuc Tuymans is ongetwijfeld een van de belangrijkaste schilders van zijn generatie. Hoewel hij sinds het einde van de jaren \u0026lsquo;80 ook aan de slag gaat met uiteenlopende druktechnieken, blijft zijn grafisch oeuvre vaak onderbelicht. Tuymans experimenteert met technieken en dragers om basismateriaal, dat zijn oorsprong vindt in foto\u0026rsquo;s, video\u0026rsquo;s, computerbeelden of polaroids, om te zetten in nieuwe beelden. Aan de basis van deze werken liggen super-8 films uit de jaren \u0026rsquo;80. Tuymans koestert een fundamenteel wantrouwen tegen de waarheidswaarde van beelden. De duistere en verontrustende werken werpen een spookachtig licht op de geschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLuc Tuymans est incontestablement l\u0026rsquo;un des peintres les plus importants de sa g\u0026eacute;n\u0026eacute;ration. Bien qu\u0026rsquo;il produise une \u0026oelig;uvre graphique depuis la fin des ann\u0026eacute;es\u0026nbsp;80, \u0026agrave; l\u0026rsquo;aide de diff\u0026eacute;rentes techniques d\u0026rsquo;impressions, celle-ci demeure souvent trop peu mise en lumi\u0026egrave;re. Tuymans exp\u0026eacute;rimente des techniques et des supports pour transposer son mat\u0026eacute;riau de base, qui tire son origine de photos, de vid\u0026eacute;os, d\u0026rsquo;images num\u0026eacute;riques et de polaro\u0026iuml;ds, en nouvelles images. L\u0026rsquo;inspiration de ces \u0026oelig;uvres pr\u0026eacute;sent\u0026eacute;es ici vient de films\u0026nbsp;super-8 des ann\u0026eacute;es\u0026nbsp;80. Tuymans se m\u0026eacute;fie visc\u0026eacute;ralement de la valeur de v\u0026eacute;rit\u0026eacute; des images. Les \u0026oelig;uvres sombres et inqui\u0026eacute;tantes jettent une lumi\u0026egrave;re fantomatique sur l\u0026rsquo;histoire.\u003c/p\u003e\r\n"}]},{"id":4120,"title":"Altar","dimensions":"60 x 80 x 5 cm","date_begin":"2002-01-01","material":"paper, sandblasted perspex","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e50 copies, signed and numbered\u003c/p\u003e\r\n","date_end":null,"reference":"BK7409_M267","stream_count_app":20,"permalink":"altar","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eLuc Tuymans\u003c/strong\u003e\u0026nbsp;wurde im Jahr 1958 in Mortsel, Belgien, geboren. Er lebt in Antwerpen. Nach dem Studium der Kunst und Kunstgeschichte in Br\u0026uuml;ssel und Antwerpen wurde er Mitte der achtziger Jahre K\u0026uuml;nstler. Tuymans machte sich einen Namen als vollkommenster und gefragtester zeitgen\u0026ouml;ssischer K\u0026uuml;nstler. Diese Ausgabe wurde f\u0026uuml;r die Documenta XI von Jan Hoet erstellt. Mit einer filmischen Sensibilit\u0026auml;t malt Luc Tuymans gespannte und aufgeladene soziale, kulturelle und politische Subjekte, wobei er sich vielmehr darauf bezieht als explizit anspricht, verborgen unter der \u0026auml;sthetischen, ansprechenden, nahezu \u0026bdquo;niedlichen\u0026ldquo; Palette und verschleierten Unklarheit. Diese 3D-collagierte Digitaldruck stellt eine Hochzeitskapelle in einem Mormonentempel dar; ein Bild, das nur den Augen von Kirchenmitgliedern vorbehalten ist und aufgenommen von Tuymans nach einer Fotografie des Raums von einer \u0026Uuml;berwachungskamera. Den Wahrnehmungsprozess herausfordernd, behandelt Tuymans mit seinen \u0026uuml;berragenden Arbeiten die ethisch angespannten Assoziationen mit Hochzeit in religi\u0026ouml;sen Sekten durch Aush\u0026ouml;hlung des Verborgenen und exklusive Behandlung dieses Bereichs; dabei legt er die Omnipr\u0026auml;senz von \u0026Uuml;berwachung blo\u0026szlig;, w\u0026auml;hrend er das Mysterium mit der traumhaften Qualit\u0026auml;t dieser scheinbar schlafwandelnden Szenen aufrecht erh\u0026auml;lt. Diskret, doch irritierend, betont dieser Druck das Ausma\u0026szlig; von Impotenz und des passiven Beobachtens nur, wenn kognitive Referenzen klar sind, was paradoxerweise einen passiven Eskapismus auf einer rein visuellen Ebene f\u0026ouml;rdert.\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":"Luc Tuymans","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/000/038/330/large/Luc_Tuymans__Altar__2002_photo_M_HKAcc.jpg?1511425504","poster_credits":"(c)image: M HKA, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003eThree-dimensional digital print behind sandblasted perspex.\u003c/p\u003e\r\n\r\n\u003cp\u003ePublished by\u0026nbsp;documenta 11_Editions, Kassel.\u003cbr /\u003e\r\nProduced by J\u0026ouml;rg Schellmann Art, M\u0026uuml;nchen.\u003cbr /\u003e\r\nSigned and numbered.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eWith a cinematic sensibility, Luc Tuymans paints tense and charged social, cultural, and political subjects, implied and alluded to rather than explicitly addressed, concealed beneath the aesthetically pleasing, almost \u0026ldquo;twee,\u0026rdquo; palette and hazy blur. This 3D-collaged digital print depicts a wedding chapel in a Mormon temple, an image only privy to the eyes of church members, and produced by Tuymans after a photograph of the space from a surveillance camera. Challenging the perceptual process with his sublime works, Tuymans responds to the ethically fraught associations with marriage in religious sects by undermining the covert and exclusive treatment of this area and exposes the omnipresence of surveillance all the while maintaining mystery with the dream-like quality of his seemingly somnambulant scenes. Discreet yet unsettling, this print highlights the gaping magnitude of impotence and passive spectatorship only once the cognitive references are clear, paradoxically encouraging a passive escapism on a purely visual level.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eUitgegeven door documenta 11_Editions, Kassel.\u003cbr /\u003e\r\nUitgevoerd door J\u0026ouml;rg Schellmann Art, M\u0026uuml;nchen.\u003cbr /\u003e\r\nGesigneerd en genummerd.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cstrong\u003eLuc Tuymans\u003c/strong\u003e\u0026nbsp;est n\u0026eacute; en 1958 \u0026agrave; Mortsel, Belgique. Il vit \u0026agrave; Anvers. Apr\u0026egrave;s avoir \u0026eacute;tudi\u0026eacute; la peinture et l\u0026#39;histoire de l\u0026#39;art \u0026agrave; Bruxelles et Anvers, il a \u0026eacute;merg\u0026eacute; en tant qu\u0026#39;artiste au milieu des ann\u0026eacute;es 80. Tuymans s\u0026#39;est fait un nom comme \u0026eacute;tant l\u0026#39;un des peintres contemporains les plus accomplis et les plus recherch\u0026eacute;s. Cette \u0026eacute;dition a \u0026eacute;t\u0026eacute; r\u0026eacute;alis\u0026eacute;e pour le Documenta XI de Jan Hoet. Avec une sensibilit\u0026eacute; cin\u0026eacute;matique, Luc Tuymans peint des sujets sociaux, culturels et politiques tendus et charg\u0026eacute;s, implicites et faisant l\u0026#39;objet d\u0026#39;allusions plut\u0026ocirc;t qu\u0026#39;abord\u0026eacute;s explicitement, dissimul\u0026eacute;s derri\u0026egrave;re la palette esth\u0026eacute;tiquement agr\u0026eacute;able, presque \u0026laquo;\u0026nbsp;mi\u0026egrave;vre\u0026nbsp;\u0026raquo; et un flou voil\u0026eacute;. Cette impression num\u0026eacute;rique en collage 3D repr\u0026eacute;sente une chapelle de mariage dans un temple mormon, une image connue uniquement des yeux des membres de l\u0026#39;\u0026eacute;glise et produite par Tuymans d\u0026#39;apr\u0026egrave;s une photographie de l\u0026#39;espace prise par une cam\u0026eacute;ra de surveillance. D\u0026eacute;fiant le processus de perception avec ses oeuvres sublimes, Tuymans r\u0026eacute;agit aux associations tendues sur le plan \u0026eacute;thique avec le mariage dans des sectes religieuses en minant la couverture et le traitement exclusif de ce domaine et il expose l\u0026#39;omnipr\u0026eacute;sence de la surveillance tout en pr\u0026eacute;servant le myst\u0026egrave;re de la qualit\u0026eacute; onirique de ses sc\u0026egrave;nes d\u0026#39;apparence somnambuliques. Discr\u0026egrave;te mais troublante, cette impression souligne la magnitude b\u0026eacute;ante de l\u0026#39;impotence et du spectateur passif une fois seulement que les r\u0026eacute;f\u0026eacute;rences cognitives sont claires, encourageant paradoxalement une envie d\u0026#39;\u0026eacute;vasion \u0026agrave; un niveau purement visuel.\u003c/p\u003e\r\n"}]},{"id":4124,"title":"Premonition (Series II)","dimensions":"53.3 x 44.2 cm","date_begin":"2003-01-01","material":"Paper J. Wathman 1961 HMP","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eColoured monoprint on J.Whatman 1961 HMP paper Ed. Brooke Alexander Editions \u0026amp; David Zwirner Gallery, New York 6 copies signed and Roman numbered\u003c/p\u003e\r\n","date_end":null,"reference":"BK7478_M332","stream_count_app":21,"permalink":"premonition-series-ii","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/000/011/636/medium_500/Tuymans__Luc___Premonition_Series_II__2003.jpg?1343376797","cached_actor_names":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/636/large/Tuymans__Luc___Premonition_Series_II__2003.jpg?1343376797","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4174,"title":"Prague (nr.3)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK006979-003","stream_count_app":34,"permalink":"prague-nr-3","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/651/large/Tuymans__Luc__Prague_nr3_.jpg?1343381235","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eLuc Tuymans is undoubtedly one of the most important\u0026nbsp;painters of his generation. Since the late 1980s, he also starts working with a variety of printing techniques, yet his graphic work often remains overlooked. Tuymans experiments with techniques and supports to transform basic material that has its origin in photos, videos, computer images or polaroids into new images. The basis of these works are super-8 films\u0026nbsp;from the 80s. Tuymans harbours a fundamental distrust of the truth value of images. The dark and disturbing works cast a ghostly\u0026nbsp;light on history.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eLuc Tuymans is ongetwijfeld een van de belangrijkaste schilders van zijn generatie. Hoewel hij sinds het einde van de jaren \u0026lsquo;80 ook aan de slag gaat met uiteenlopende druktechnieken, blijft zijn grafisch oeuvre vaak onderbelicht. Tuymans experimenteert met technieken en dragers om basismateriaal, dat zijn oorsprong vindt in foto\u0026rsquo;s, video\u0026rsquo;s, computerbeelden of polaroids, om te zetten in nieuwe beelden. Aan de basis van deze werken liggen super-8 films uit de jaren \u0026rsquo;80. Tuymans koestert een fundamenteel wantrouwen tegen de waarheidswaarde van beelden. De duistere en verontrustende werken werpen een spookachtig licht op de geschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLuc Tuymans est incontestablement l\u0026rsquo;un des peintres les plus importants de sa g\u0026eacute;n\u0026eacute;ration. Bien qu\u0026rsquo;il produise une \u0026oelig;uvre graphique depuis la fin des ann\u0026eacute;es\u0026nbsp;80, \u0026agrave; l\u0026rsquo;aide de diff\u0026eacute;rentes techniques d\u0026rsquo;impressions, celle-ci demeure souvent trop peu mise en lumi\u0026egrave;re. Tuymans exp\u0026eacute;rimente des techniques et des supports pour transposer son mat\u0026eacute;riau de base, qui tire son origine de photos, de vid\u0026eacute;os, d\u0026rsquo;images num\u0026eacute;riques et de polaro\u0026iuml;ds, en nouvelles images. L\u0026rsquo;inspiration de ces \u0026oelig;uvres pr\u0026eacute;sent\u0026eacute;es ici vient de films\u0026nbsp;super-8 des ann\u0026eacute;es\u0026nbsp;80. Tuymans se m\u0026eacute;fie visc\u0026eacute;ralement de la valeur de v\u0026eacute;rit\u0026eacute; des images. Les \u0026oelig;uvres sombres et inqui\u0026eacute;tantes jettent une lumi\u0026egrave;re fantomatique sur l\u0026rsquo;histoire.\u003c/p\u003e\r\n"}]},{"id":4192,"title":"Nautilius (nr.18)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK6979_18","stream_count_app":21,"permalink":"nautilius-nr-18","description_ru":"","description_de":"","description_es":"","description_el":"","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/677/medium_500/Tuymans__Luc__Nautilius__nr18.jpg?1343391210","cached_actor_names":"Luc Tuymans","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/000/011/677/large/Tuymans__Luc__Nautilius__nr18.jpg?1343391210","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4175,"title":"Prague (nr.4)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK006979-004","stream_count_app":27,"permalink":"prague-nr-4","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/650/large/4175.jpg?1493149918","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eLuc Tuymans is undoubtedly one of the most important\u0026nbsp;painters of his generation. Since the late 1980s, he also starts working with a variety of printing techniques, yet his graphic work often remains overlooked. Tuymans experiments with techniques and supports to transform basic material that has its origin in photos, videos, computer images or polaroids into new images. The basis of these works are super-8 films\u0026nbsp;from the 80s. Tuymans harbours a fundamental distrust of the truth value of images. The dark and disturbing works cast a ghostly\u0026nbsp;light on history.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eLuc Tuymans is ongetwijfeld een van de belangrijkaste schilders van zijn generatie. Hoewel hij sinds het einde van de jaren \u0026lsquo;80 ook aan de slag gaat met uiteenlopende druktechnieken, blijft zijn grafisch oeuvre vaak onderbelicht. Tuymans experimenteert met technieken en dragers om basismateriaal, dat zijn oorsprong vindt in foto\u0026rsquo;s, video\u0026rsquo;s, computerbeelden of polaroids, om te zetten in nieuwe beelden. Aan de basis van deze werken liggen super-8 films uit de jaren \u0026rsquo;80. Tuymans koestert een fundamenteel wantrouwen tegen de waarheidswaarde van beelden. De duistere en verontrustende werken werpen een spookachtig licht op de geschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLuc Tuymans est incontestablement l\u0026rsquo;un des peintres les plus importants de sa g\u0026eacute;n\u0026eacute;ration. Bien qu\u0026rsquo;il produise une \u0026oelig;uvre graphique depuis la fin des ann\u0026eacute;es\u0026nbsp;80, \u0026agrave; l\u0026rsquo;aide de diff\u0026eacute;rentes techniques d\u0026rsquo;impressions, celle-ci demeure souvent trop peu mise en lumi\u0026egrave;re. Tuymans exp\u0026eacute;rimente des techniques et des supports pour transposer son mat\u0026eacute;riau de base, qui tire son origine de photos, de vid\u0026eacute;os, d\u0026rsquo;images num\u0026eacute;riques et de polaro\u0026iuml;ds, en nouvelles images. L\u0026rsquo;inspiration de ces \u0026oelig;uvres pr\u0026eacute;sent\u0026eacute;es ici vient de films\u0026nbsp;super-8 des ann\u0026eacute;es\u0026nbsp;80. Tuymans se m\u0026eacute;fie visc\u0026eacute;ralement de la valeur de v\u0026eacute;rit\u0026eacute; des images. Les \u0026oelig;uvres sombres et inqui\u0026eacute;tantes jettent une lumi\u0026egrave;re fantomatique sur l\u0026rsquo;histoire.\u003c/p\u003e\r\n"}]},{"id":4180,"title":"Refribell (nr.9)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1989-01-01","reference":"BK006979-009","stream_count_app":27,"permalink":"refribell-nr-9","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/643/large/Tuymans__Luc__Refribell_nr_9.jpg?1343379894","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":"\u003cp\u003eLuc Tuymans is undoubtedly one of the most important\u0026nbsp;painters of his generation. Since the late 1980s, he also starts working with a variety of printing techniques, yet his graphic work often remains overlooked. Tuymans experiments with techniques and supports to transform basic material that has its origin in photos, videos, computer images or polaroids into new images. The basis of these works are super-8 films\u0026nbsp;from the 80s. Tuymans harbours a fundamental distrust of the truth value of images. The dark and disturbing works cast a ghostly\u0026nbsp;light on history.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eLuc Tuymans is ongetwijfeld een van de belangrijkaste schilders van zijn generatie. Hoewel hij sinds het einde van de jaren \u0026lsquo;80 ook aan de slag gaat met uiteenlopende druktechnieken, blijft zijn grafisch oeuvre vaak onderbelicht. Tuymans experimenteert met technieken en dragers om basismateriaal, dat zijn oorsprong vindt in foto\u0026rsquo;s, video\u0026rsquo;s, computerbeelden of polaroids, om te zetten in nieuwe beelden. Aan de basis van deze werken liggen super-8 films uit de jaren \u0026rsquo;80. Tuymans koestert een fundamenteel wantrouwen tegen de waarheidswaarde van beelden. De duistere en verontrustende werken werpen een spookachtig licht op de geschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLuc Tuymans est incontestablement l\u0026rsquo;un des peintres les plus importants de sa g\u0026eacute;n\u0026eacute;ration. Bien qu\u0026rsquo;il produise une \u0026oelig;uvre graphique depuis la fin des ann\u0026eacute;es\u0026nbsp;80, \u0026agrave; l\u0026rsquo;aide de diff\u0026eacute;rentes techniques d\u0026rsquo;impressions, celle-ci demeure souvent trop peu mise en lumi\u0026egrave;re. Tuymans exp\u0026eacute;rimente des techniques et des supports pour transposer son mat\u0026eacute;riau de base, qui tire son origine de photos, de vid\u0026eacute;os, d\u0026rsquo;images num\u0026eacute;riques et de polaro\u0026iuml;ds, en nouvelles images. L\u0026rsquo;inspiration de ces \u0026oelig;uvres pr\u0026eacute;sent\u0026eacute;es ici vient de films\u0026nbsp;super-8 des ann\u0026eacute;es\u0026nbsp;80. Tuymans se m\u0026eacute;fie visc\u0026eacute;ralement de la valeur de v\u0026eacute;rit\u0026eacute; des images. Les \u0026oelig;uvres sombres et inqui\u0026eacute;tantes jettent une lumi\u0026egrave;re fantomatique sur l\u0026rsquo;histoire.\u003c/p\u003e\r\n"}]},{"id":4182,"title":"Harbours (nr.11)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK006979-011","stream_count_app":26,"permalink":"harbours-nr-11","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/641/large/Tuymans__Luc__Harbours__1981-82_%28nr_11%29.jpg?1343379574","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":"\u003cp\u003eLuc Tuymans is undoubtedly one of the most important\u0026nbsp;painters of his generation. Since the late 1980s, he also starts working with a variety of printing techniques, yet his graphic work often remains overlooked. Tuymans experiments with techniques and supports to transform basic material that has its origin in photos, videos, computer images or polaroids into new images. The basis of these works are super-8 films\u0026nbsp;from the 80s. Tuymans harbours a fundamental distrust of the truth value of images. The dark and disturbing works cast a ghostly\u0026nbsp;light on history.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eLuc Tuymans is ongetwijfeld een van de belangrijkaste schilders van zijn generatie. Hoewel hij sinds het einde van de jaren \u0026lsquo;80 ook aan de slag gaat met uiteenlopende druktechnieken, blijft zijn grafisch oeuvre vaak onderbelicht. Tuymans experimenteert met technieken en dragers om basismateriaal, dat zijn oorsprong vindt in foto\u0026rsquo;s, video\u0026rsquo;s, computerbeelden of polaroids, om te zetten in nieuwe beelden. Aan de basis van deze werken liggen super-8 films uit de jaren \u0026rsquo;80. Tuymans koestert een fundamenteel wantrouwen tegen de waarheidswaarde van beelden. De duistere en verontrustende werken werpen een spookachtig licht op de geschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLuc Tuymans est incontestablement l\u0026rsquo;un des peintres les plus importants de sa g\u0026eacute;n\u0026eacute;ration. Bien qu\u0026rsquo;il produise une \u0026oelig;uvre graphique depuis la fin des ann\u0026eacute;es\u0026nbsp;80, \u0026agrave; l\u0026rsquo;aide de diff\u0026eacute;rentes techniques d\u0026rsquo;impressions, celle-ci demeure souvent trop peu mise en lumi\u0026egrave;re. Tuymans exp\u0026eacute;rimente des techniques et des supports pour transposer son mat\u0026eacute;riau de base, qui tire son origine de photos, de vid\u0026eacute;os, d\u0026rsquo;images num\u0026eacute;riques et de polaro\u0026iuml;ds, en nouvelles images. L\u0026rsquo;inspiration de ces \u0026oelig;uvres pr\u0026eacute;sent\u0026eacute;es ici vient de films\u0026nbsp;super-8 des ann\u0026eacute;es\u0026nbsp;80. Tuymans se m\u0026eacute;fie visc\u0026eacute;ralement de la valeur de v\u0026eacute;rit\u0026eacute; des images. Les \u0026oelig;uvres sombres et inqui\u0026eacute;tantes jettent une lumi\u0026egrave;re fantomatique sur l\u0026rsquo;histoire.\u003c/p\u003e\r\n"}]},{"id":4190,"title":"Nautilius (nr.16)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK6979_16","stream_count_app":21,"permalink":"nautilius-nr-16","description_ru":"","description_de":"","description_es":"","description_el":"","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/679/medium_500/Tuymans__Luc__Nautilius_nr_16.jpg?1343391855","cached_actor_names":"Luc Tuymans","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/000/011/679/large/Tuymans__Luc__Nautilius_nr_16.jpg?1343391855","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4114,"title":"Die Zeit","dimensions":"56 x 76 cm","date_begin":"1994-01-01","material":"silkscreen; paper Vélin Arches 250 gr.","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSilkscreen on V\u0026eacute;lin Arches 250 gr.; numbered: 54/65\u003c/p\u003e\r\n\r\n\u003cp\u003ePrinted Polaroid with historical building in a cityscape.\u003c/p\u003e\r\n","date_end":null,"reference":"BK6923_M162","stream_count_app":23,"permalink":"die-zeit","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/000/011/564/medium_500/Tuymans__Die_Zeit__1991_2.jpg?1343296979","cached_actor_names":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/564/large/Tuymans__Die_Zeit__1991_2.jpg?1343296979","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIn 1988, Luc Tuymans painted the \u003ca href=\"http://architettura.it/artland/20080526/12C.jpg\"\u003efour-part \u003c/a\u003e\u003cem\u003e\u003ca href=\"http://architettura.it/artland/20080526/12C.jpg\"\u003eDie Zeit\u003c/a\u003e (The Time)\u003c/em\u003e, referring to WW II, including a portrait of Nazi headpiece Reinhard Heydrich, two spinach tablets as well as a cityscape. This cityscape was later in 1994 reframed\u0026nbsp;in the silkscreen entitled \u003cem\u003eDie Zeit\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cp\u003eWorking in series or with multipart works results here in a cinematographic sensation in the form of stills. Earlier in 1982, Luc Tuymans stopped painting for 3 years; \u003cem\u003e\u0026#39;The first videos were not about; just everyday images that struck me. [...] I kept on cutting and editing until the editing eventually became more important than the film itself \u0026#39;\u003c/em\u003e. Afterwards, these experiments continued to influence the indirect approach to subject and composition. Timeless and alienating.\u003c/p\u003e\r\n\r\n\u003cp\u003e(Source: Grynsztejn Madeleine - Molesworth Helen, \u003cem\u003eLuc Tuymans\u003c/em\u003e,\u0026nbsp;Ludion \u0026amp; BOZAR, 2011)\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eIn 1988 schilderde Luc Tuymans \u003ca href=\"http://architettura.it/artland/20080526/12C.jpg\"\u003ehet vierluik \u003c/a\u003e\u003cem\u003e\u003ca href=\"http://architettura.it/artland/20080526/12C.jpg\"\u003eDie Zeit\u003c/a\u003e,\u0026nbsp;\u003c/em\u003erefererend aan WO II,\u003cem\u003e\u0026nbsp;\u003c/em\u003emet ondermeer het portret van nazi-kopstuk Reinhard Heydrich, twee spinazietabletten\u0026nbsp;alsook een stadsgezicht.\u0026nbsp;Dit stadsgezicht werd later in 1994 hernomen in de\u0026nbsp;zeefdruk \u0026#39;Die Zeit\u0026#39;.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003eHet werken in reeksen of met meerdelige werken resulteert\u0026nbsp; hier in een cinematografische gewaarwording in de vorm van stills. Eerder in 1982\u0026nbsp;stopte Luc Tuymans 3 jaar met schilderen;\u003cem\u003e \u0026#39;De eerste filmpjes gingen nergens over; gewoon alledaagse beelden die me opvielen. [...] Ik bleef maar snijden en monteren tot het monteren uiteindelijk belangrijker werd dan\u0026nbsp; de film zelf\u0026#39;\u003c/em\u003e. Nadien bleven deze experimenten van invloed op de indirecte benadering van onderwerp en compositie. Tijdloos en bevreemdend.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e(bron: Grynsztejn Madeleine - Molesworth Helen, \u003cem\u003eLuc Tuymans\u003c/em\u003e,\u0026nbsp;Ludion \u0026amp; BOZAR, 2011)\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":2253,"title":"The Rumour","dimensions":"91.56 x 516 x 6.5 cm","date_begin":"2002-01-01","material":"ink, paper, plexi, wood","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":58,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":1,"collection":"Collection M HKA, Antwerp","cached_tag_list":"mixed media lithography","publishing_process_id":1,"annotation":"","date_end":"2003-01-01","reference":"S0287","stream_count_app":40,"permalink":"the-rumour","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":"Luc Tuymans","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/000/002/857/large/Tuymans,%200137%20Luc,%20The%20Rumour,%202002-2003%20zaalzicht%20photo%20clinckx.jpg?1314801167","poster_credits":"(c)image: M HKA/CC","translations":[{"locale":"en","description":"\u003cp\u003eThis edition was created after the 2001 exhibition of the same name at White Cube Gallery in London. The theme is the cult of carrier pigeons and pigeon fanciers. This is a series, which is a usual working method for Luc Tuymans. By collecting and juxtaposing several images the content of the individual images can be reconsidered, as well as the psychological relations between the depicted subjects. This does not happen without a struggle, however: associations can lead to discrepancies in our thinking. The dove can be seen as a symbol of peace, and can also be linked to virginal whiteness. During the French Revolution these birds were killed so as to prevent the free spread of information. Today we think of urban pigeons as pointless disease carriers. Have they become a metaphor for ourselves? Or should we cast our eyes on the portrait of the aristocrat, the pivotal power figure, who regards us with haughty anticipation? He determines not only the direction the pigeon flies in, but also the way rumours make a place for themselves in a society. His gaze exacts obedience, as do the eyes of the pigeon. This authoritarian figure (midway between Giscard d\u0026rsquo;Estaing, Adenauer and Mitterrand) contrasts sharply with the other image, of a twisted body bending over forwards. \u003cem\u003eThe Rumour\u0026nbsp;\u003c/em\u003eappears to refer to ghostly visions of oppression. Tuymans presents these frightening ideas in ordinary and easily recognisable forms.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn \u003cem\u003eThe Rumour\u003c/em\u003e, bestaande uit zeven lithografie\u0026euml;n op vier panelen van hout en plexiglas, werkt Luc Tuymans volgens een principe dat hij vaker toepast: de serie. Door het bijeenbrengen van een aantal beelden kan de inhoud van elk afzonderlijk beeld opnieuw worden herdacht, evenals het psychologische samenspel tussen de verschillende onderwerpen. Dit gaat echter niet zonder slag of stoot: associaties kunnen tot discrepanties in ons denken leiden. De duif lijkt in eerste instantie de protagonist te zijn \u0026ndash; een vogel die tijdens de Franse Revolutie symbolisch werd gedood om vrije berichtgeving tegen te gaan. Deze stadsbewoners kunnen in verband worden gebracht met de maagdelijke witheid van de vredesduif, hoewel we de eerste categorie niet direct schone en zuivere kenmerken zullen toedichten. Beschouwen we ze daarom als overbodige en ziekteverspreidende beesten? Zijn ze een metafoor van onszelf? Of dienen we onze blik te richten naar het portret van de aristocraat, spilfiguur van de macht, die ons hautain en afwachtend aankijkt? Hij bepaalt niet alleen de vliegrichting van de duif, maar ook de wijze waarop geruchten zich in een maatschappij nestelen. En zijn blik \u0026ndash; evenals de ogen van de duif \u0026ndash; dwingt een zekere gehoorzaamheid af. \u003cem\u003eThe Rumour\u003c/em\u003e\u0026nbsp;lijkt daarmee naar spookachtige visioenen van onderdrukking te verwijzen, maar Tuymans presenteert deze angstaanjagende gedachten binnen alledaagse en herkenbare vormen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLuc Tuymans a r\u0026eacute;alis\u0026eacute; cette \u0026eacute;dition d\u0026rsquo;apr\u0026egrave;s l\u0026rsquo;exposition du m\u0026ecirc;me nom \u0026agrave; la White Cube Gallery, \u0026agrave; Londres, en 2001, dont le th\u0026egrave;me \u0026eacute;tait le culte des pigeons voyageurs et des colombophiles. L\u0026rsquo;artiste travaille ici selon un principe qu\u0026rsquo;il applique souvent : la s\u0026eacute;rie. En rassemblant plusieurs images, on peut \u0026agrave; la fois rem\u0026eacute;morer le contenu de chaque image individuelle, de m\u0026ecirc;me que l\u0026rsquo;association psychologique entre les sujets. Cela ne coule cependant pas de source : les associations peuvent mener \u0026agrave; des discordances de notre pens\u0026eacute;e. La colombe peut \u0026ecirc;tre vue comme le symbole de la paix ou \u0026ecirc;tre associ\u0026eacute;e \u0026agrave; la blancheur virginale. Pendant la R\u0026eacute;volution fran\u0026ccedil;aise, les pigeons furent abattus pour \u0026eacute;viter la libre circulation de l\u0026rsquo;information. Aujourd\u0026rsquo;hui, nous consid\u0026eacute;rons les pigeons des villes comme un fl\u0026eacute;au, qui v\u0026eacute;hicule des maladies. Sont-ils des m\u0026eacute;taphores de nous-m\u0026ecirc;mes ? Ou faut-il porter notre regard sur le portrait de l\u0026rsquo;aristocrate, personnage cl\u0026eacute; du pouvoir, qui nous toise d\u0026rsquo;un air attentiste ? Il d\u0026eacute;termine non seulement la direction de vol du pigeon, mais la mani\u0026egrave;re dont les rumeurs se nichent dans la soci\u0026eacute;t\u0026eacute; aussi. Son regard \u0026ndash; \u0026agrave; l\u0026rsquo;instar de celui du pigeon \u0026ndash; impose une ob\u0026eacute;issance. Ce personnage autoritaire (qui rappelle \u0026agrave; la fois Giscard d\u0026rsquo;Estaing, Adenauer et Mitterrand) contraste fort avec l\u0026rsquo;autre image d\u0026rsquo;un corps tordu, pench\u0026eacute; vers l\u0026rsquo;avant. \u003cem\u003eThe Rumour\u003c/em\u003e para\u0026icirc;t renvoyer \u0026agrave; des visions fantomatiques d\u0026rsquo;oppression. Tuymans pr\u0026eacute;sente ces pens\u0026eacute;es angoissantes dans un environnement quotidien reconnaissable.\u003c/p\u003e\r\n"}]},{"id":4177,"title":"Refribell (nr.6)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK006979-006","stream_count_app":31,"permalink":"refribell-nr-6","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/646/large/Tuymans__Luc__Refribell_nr_6.jpg?1343380507","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eLuc Tuymans is undoubtedly one of the most important\u0026nbsp;painters of his generation. Since the late 1980s, he also starts working with a variety of printing techniques, yet his graphic work often remains overlooked. Tuymans experiments with techniques and supports to transform basic material that has its origin in photos, videos, computer images or polaroids into new images. The basis of these works are super-8 films\u0026nbsp;from the 80s. Tuymans harbours a fundamental distrust of the truth value of images. The dark and disturbing works cast a ghostly\u0026nbsp;light on history.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eLuc Tuymans is ongetwijfeld een van de belangrijkaste schilders van zijn generatie. Hoewel hij sinds het einde van de jaren \u0026lsquo;80 ook aan de slag gaat met uiteenlopende druktechnieken, blijft zijn grafisch oeuvre vaak onderbelicht. Tuymans experimenteert met technieken en dragers om basismateriaal, dat zijn oorsprong vindt in foto\u0026rsquo;s, video\u0026rsquo;s, computerbeelden of polaroids, om te zetten in nieuwe beelden. Aan de basis van deze werken liggen super-8 films uit de jaren \u0026rsquo;80. Tuymans koestert een fundamenteel wantrouwen tegen de waarheidswaarde van beelden. De duistere en verontrustende werken werpen een spookachtig licht op de geschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLuc Tuymans est incontestablement l\u0026rsquo;un des peintres les plus importants de sa g\u0026eacute;n\u0026eacute;ration. Bien qu\u0026rsquo;il produise une \u0026oelig;uvre graphique depuis la fin des ann\u0026eacute;es\u0026nbsp;80, \u0026agrave; l\u0026rsquo;aide de diff\u0026eacute;rentes techniques d\u0026rsquo;impressions, celle-ci demeure souvent trop peu mise en lumi\u0026egrave;re. Tuymans exp\u0026eacute;rimente des techniques et des supports pour transposer son mat\u0026eacute;riau de base, qui tire son origine de photos, de vid\u0026eacute;os, d\u0026rsquo;images num\u0026eacute;riques et de polaro\u0026iuml;ds, en nouvelles images. L\u0026rsquo;inspiration de ces \u0026oelig;uvres pr\u0026eacute;sent\u0026eacute;es ici vient de films\u0026nbsp;super-8 des ann\u0026eacute;es\u0026nbsp;80. Tuymans se m\u0026eacute;fie visc\u0026eacute;ralement de la valeur de v\u0026eacute;rit\u0026eacute; des images. Les \u0026oelig;uvres sombres et inqui\u0026eacute;tantes jettent une lumi\u0026egrave;re fantomatique sur l\u0026rsquo;histoire.\u003c/p\u003e\r\n"}]},{"id":4178,"title":"Refribell (nr.7)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK006979-007","stream_count_app":32,"permalink":"refribell-nr-7","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/645/large/Tuymans__Refribell__nr_7.jpg?1343380293","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eLuc Tuymans is undoubtedly one of the most important\u0026nbsp;painters of his generation. Since the late 1980s, he also starts working with a variety of printing techniques, yet his graphic work often remains overlooked. Tuymans experiments with techniques and supports to transform basic material that has its origin in photos, videos, computer images or polaroids into new images. The basis of these works are super-8 films\u0026nbsp;from the 80s. Tuymans harbours a fundamental distrust of the truth value of images. The dark and disturbing works cast a ghostly\u0026nbsp;light on history.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eLuc Tuymans is ongetwijfeld een van de belangrijkaste schilders van zijn generatie. Hoewel hij sinds het einde van de jaren \u0026lsquo;80 ook aan de slag gaat met uiteenlopende druktechnieken, blijft zijn grafisch oeuvre vaak onderbelicht. Tuymans experimenteert met technieken en dragers om basismateriaal, dat zijn oorsprong vindt in foto\u0026rsquo;s, video\u0026rsquo;s, computerbeelden of polaroids, om te zetten in nieuwe beelden. Aan de basis van deze werken liggen super-8 films uit de jaren \u0026rsquo;80. Tuymans koestert een fundamenteel wantrouwen tegen de waarheidswaarde van beelden. De duistere en verontrustende werken werpen een spookachtig licht op de geschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLuc Tuymans est incontestablement l\u0026rsquo;un des peintres les plus importants de sa g\u0026eacute;n\u0026eacute;ration. Bien qu\u0026rsquo;il produise une \u0026oelig;uvre graphique depuis la fin des ann\u0026eacute;es\u0026nbsp;80, \u0026agrave; l\u0026rsquo;aide de diff\u0026eacute;rentes techniques d\u0026rsquo;impressions, celle-ci demeure souvent trop peu mise en lumi\u0026egrave;re. Tuymans exp\u0026eacute;rimente des techniques et des supports pour transposer son mat\u0026eacute;riau de base, qui tire son origine de photos, de vid\u0026eacute;os, d\u0026rsquo;images num\u0026eacute;riques et de polaro\u0026iuml;ds, en nouvelles images. L\u0026rsquo;inspiration de ces \u0026oelig;uvres pr\u0026eacute;sent\u0026eacute;es ici vient de films\u0026nbsp;super-8 des ann\u0026eacute;es\u0026nbsp;80. Tuymans se m\u0026eacute;fie visc\u0026eacute;ralement de la valeur de v\u0026eacute;rit\u0026eacute; des images. Les \u0026oelig;uvres sombres et inqui\u0026eacute;tantes jettent une lumi\u0026egrave;re fantomatique sur l\u0026rsquo;histoire.\u003c/p\u003e\r\n"}]},{"id":4181,"title":"Refribell (nr.10)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK006979-010","stream_count_app":27,"permalink":"refribell-nr-10","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/642/large/Tuymans__Luc__Refribell__nr_10.jpg?1343379696","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":"\u003cp\u003eLuc Tuymans is undoubtedly one of the most important\u0026nbsp;painters of his generation. Since the late 1980s, he also starts working with a variety of printing techniques, yet his graphic work often remains overlooked. Tuymans experiments with techniques and supports to transform basic material that has its origin in photos, videos, computer images or polaroids into new images. The basis of these works are super-8 films\u0026nbsp;from the 80s. Tuymans harbours a fundamental distrust of the truth value of images. The dark and disturbing works cast a ghostly\u0026nbsp;light on history.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eLuc Tuymans is ongetwijfeld een van de belangrijkaste schilders van zijn generatie. Hoewel hij sinds het einde van de jaren \u0026lsquo;80 ook aan de slag gaat met uiteenlopende druktechnieken, blijft zijn grafisch oeuvre vaak onderbelicht. Tuymans experimenteert met technieken en dragers om basismateriaal, dat zijn oorsprong vindt in foto\u0026rsquo;s, video\u0026rsquo;s, computerbeelden of polaroids, om te zetten in nieuwe beelden. Aan de basis van deze werken liggen super-8 films uit de jaren \u0026rsquo;80. Tuymans koestert een fundamenteel wantrouwen tegen de waarheidswaarde van beelden. De duistere en verontrustende werken werpen een spookachtig licht op de geschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLuc Tuymans est incontestablement l\u0026rsquo;un des peintres les plus importants de sa g\u0026eacute;n\u0026eacute;ration. Bien qu\u0026rsquo;il produise une \u0026oelig;uvre graphique depuis la fin des ann\u0026eacute;es\u0026nbsp;80, \u0026agrave; l\u0026rsquo;aide de diff\u0026eacute;rentes techniques d\u0026rsquo;impressions, celle-ci demeure souvent trop peu mise en lumi\u0026egrave;re. Tuymans exp\u0026eacute;rimente des techniques et des supports pour transposer son mat\u0026eacute;riau de base, qui tire son origine de photos, de vid\u0026eacute;os, d\u0026rsquo;images num\u0026eacute;riques et de polaro\u0026iuml;ds, en nouvelles images. L\u0026rsquo;inspiration de ces \u0026oelig;uvres pr\u0026eacute;sent\u0026eacute;es ici vient de films\u0026nbsp;super-8 des ann\u0026eacute;es\u0026nbsp;80. Tuymans se m\u0026eacute;fie visc\u0026eacute;ralement de la valeur de v\u0026eacute;rit\u0026eacute; des images. Les \u0026oelig;uvres sombres et inqui\u0026eacute;tantes jettent une lumi\u0026egrave;re fantomatique sur l\u0026rsquo;histoire.\u003c/p\u003e\r\n"}]},{"id":4183,"title":"Harbours (nr.12)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK006979-012","stream_count_app":24,"permalink":"harbours-nr-12","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/640/large/Tuymans__Luc__Harbours___nr__12.jpg?1343379194","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4184,"title":"Waterloo (nr.13)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK006979-013","stream_count_app":26,"permalink":"waterloo-nr-13","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/680/large/Tuymans__Luc__Waterloo_nr13.jpg?1343392271","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eLuc Tuymans is undoubtedly one of the most important\u0026nbsp;painters of his generation. Since the late 1980s, he also starts working with a variety of printing techniques, yet his graphic work often remains overlooked. Tuymans experiments with techniques and supports to transform basic material that has its origin in photos, videos, computer images or polaroids into new images. The basis of these works are super-8 films\u0026nbsp;from the 80s. Tuymans harbours a fundamental distrust of the truth value of images. The dark and disturbing works cast a ghostly\u0026nbsp;light on history.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eLuc Tuymans is ongetwijfeld een van de belangrijkaste schilders van zijn generatie. Hoewel hij sinds het einde van de jaren \u0026lsquo;80 ook aan de slag gaat met uiteenlopende druktechnieken, blijft zijn grafisch oeuvre vaak onderbelicht. Tuymans experimenteert met technieken en dragers om basismateriaal, dat zijn oorsprong vindt in foto\u0026rsquo;s, video\u0026rsquo;s, computerbeelden of polaroids, om te zetten in nieuwe beelden. Aan de basis van deze werken liggen super-8 films uit de jaren \u0026rsquo;80. Tuymans koestert een fundamenteel wantrouwen tegen de waarheidswaarde van beelden. De duistere en verontrustende werken werpen een spookachtig licht op de geschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLuc Tuymans est incontestablement l\u0026rsquo;un des peintres les plus importants de sa g\u0026eacute;n\u0026eacute;ration. Bien qu\u0026rsquo;il produise une \u0026oelig;uvre graphique depuis la fin des ann\u0026eacute;es\u0026nbsp;80, \u0026agrave; l\u0026rsquo;aide de diff\u0026eacute;rentes techniques d\u0026rsquo;impressions, celle-ci demeure souvent trop peu mise en lumi\u0026egrave;re. Tuymans exp\u0026eacute;rimente des techniques et des supports pour transposer son mat\u0026eacute;riau de base, qui tire son origine de photos, de vid\u0026eacute;os, d\u0026rsquo;images num\u0026eacute;riques et de polaro\u0026iuml;ds, en nouvelles images. L\u0026rsquo;inspiration de ces \u0026oelig;uvres pr\u0026eacute;sent\u0026eacute;es ici vient de films\u0026nbsp;super-8 des ann\u0026eacute;es\u0026nbsp;80. Tuymans se m\u0026eacute;fie visc\u0026eacute;ralement de la valeur de v\u0026eacute;rit\u0026eacute; des images. Les \u0026oelig;uvres sombres et inqui\u0026eacute;tantes jettent une lumi\u0026egrave;re fantomatique sur l\u0026rsquo;histoire.\u003c/p\u003e\r\n"}]},{"id":4191,"title":"Nautilius (nr.17)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK6979_17","stream_count_app":20,"permalink":"nautilius-nr-17","description_ru":"","description_de":"","description_es":"","description_el":"","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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/678/medium_500/Tuymans__Luc__Nautilius_nr17.jpg?1343391413","cached_actor_names":"Luc Tuymans","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/000/011/678/large/Tuymans__Luc__Nautilius_nr17.jpg?1343391413","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4206,"title":"Shore","dimensions":"63 x 51 cm","date_begin":"2005-01-01","material":"silkscreen; ink on paper","short_description":"\u003cp\u003eDark image from the breakers on the Belgian shore.\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSilkscreen (5 colours) from the Belgian shore. Ed. Kunstverein St. Gallen, St.Gallen Atelier Roger Vandaele, Antwerp. 80 copies signed and numbered + 20 copies a.p.\u003c/p\u003e\r\n","date_end":null,"reference":"BK7645_M410","stream_count_app":17,"permalink":"shore","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/000/011/667/medium_500/Tuymans_Luc_Shore_2007_photo_M_HKAclinckx.jpg?1343388477","cached_actor_names":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/667/large/Tuymans_Luc_Shore_2007_photo_M_HKAclinckx.jpg?1343388477","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eLuc Tuymans has consistently returned to the subjects of his previous works, revisiting interests and furthering his investigations through the use of different media. Oostende, a large horizontal view of a beach and tideline at night based on Polaroids he had shot himself, and painted in 2003, was made specifically for the exhibition Marines in confrontatie in the PMMK in Ostend (and exhibited as part of the Beaufort Triennal of Contemporary Art exhibition in Belgium). In the same year, Tuymans\u0026#39;s solo exhibition The Arena toured Europe, including the Kunstmuseum in the Swiss town of Sankt Gallen. This led to an invitation from the Kunstverein St. Gallen - one of the oldest art museum associations and an active publisher of editions by living masters - to publish a print; he chose to revisit Oostende.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIn collaboration with the master printer Roger Vandaele, Tuymans determined het would make the print from the Polaroids that preceded the painting (as opposed to the painting itself). This significantly impacted the colour of the printed work; in the painting Tuymans had opted for grey tones with light, white accents in the foreground to represent the illuminated sand with shells. Working from the Polaroids, the colouration required the print to recede into black for the background and the tideline, with a strongly contrasting golden-brown in the foreground. Though it originates from the same photographic image source, 2005\u0026#39;s Shore is markedly different from Oostende.\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIn 2011, Luc Tuymans, Thomas Houseago, Takashi Murakami, Cindy Sherman, and others contributed works for a benefit auction (organised by Christie\u0026#39;s auction house and Takashi Murakami) to raise funds for victims of the Tohoku-Pacific Earthquake and tsunami in Japan. In considiration of the magnitude and context of the tragedy, Tuymans thought to re-revisit his earlier beach scene. Based on the screenprint, he painted the work Shore. The artist maintained the vertical format, but once again chose a palette of grey tones, as he had for Oostende - albeit in combination with the light-dark contrasts and the bright white and yellow illumination of the shells in the screenprint.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eThrough the use of subtly nuanced colours, the background of this image gradually spills ito the golden-brown of the foreground sand, a skilfully produced effect. Again, Tuymans\u0026#39;s process of revisitation and reproduction of subject matter has resulted in a complex abstraction in print form.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e(Source: Manfred Sellink, Tommy Simoens -\u003cem\u003e\u0026nbsp;\u0026#39;Luc Tuymans - Graphic\u0026nbsp;Works\u0026nbsp;1989 - 2012\u0026#39;\u003c/em\u003e, Ludion, 2012)\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eLuc Tuymans grijpt regelmatig terug op motieven uit eerder werk om ze opnieuw te bestuderen en in andere technieken te vertalen. Oostende (2003) is een groot horizontaal nachtelijk gezicht op het strand en de branding, gebaseerd op eigen polaroidopnamen. Tuymans schilderde het in 2003 voor de tentoonstelling Marines in confrontatie in het PMMK in Oostende (onderdeel van de eerste Beaufort Tri\u0026euml;nnale voor Hedendaagse Kunst aan Zee). In datzelfde jaar reisde zijn solotentoonstelling The Arena door Europa en deed onder andere het Kunstmuseum in het Zwitserse Sankt Gallen aan. Naar aanleiding hiervan werd Tuymans door de Kunstverein St. Gallen, een van de oudste museale kunstverenigingen en sinds lang actief in het uitgeven van grafisch werk van hedendaagse kunstenaars, aangezocht om een prent te cre\u0026euml;ren. De keuze viel op het thema van Oostende.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIn samenwerking met meester-drukker Roger Vandaele besloot de kunstenaar niet het schilderij zelf maar de polaroids die eraan vooraf waren gegaan als uitgangspunt te nemen. Deze keuze be\u0026iuml;nvloedde in grote mate de tonaliteit van de prent: in het schilderij had Tuymans grijstinten gebruikt met in de voorgrond lichte witte toetsen om de branding te suggereren. De zeefdruk volgt daarentegen de kleurschakeringen van de polaroid, met een vanaf de vloedlijn zwart weglopende achtergrond en een sterk contrasterende goudbruine voorgrond. Hoewel de zeefdruk Shore uit 2005 op dezelfde fotografische bron teruggaat, is het effect heel anders dan dat van het schilderij Oostende.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIn 2001 stonden Luc Tuymans, Thomas Houseago, Takashi Murakami, Cindy Sherman en anderen werk af voor een benefietveiling (georganiseerd door veilinghuis Christie\u0026#39;s en Takashi Murakami) ten voordele van de slachtoffers van de zeebeving en tsunami bij Sendai in Japan. In het licht van deze reusachtige tragedie wilde Tuymans zijn strandgezicht nogmaals herwerken. Op basis van de zeefdruk maakte hij het schilderij Shore. Hij handhaafde het verticale formaat van de prent maar keerde terug tot een palet van grijstinten zoals in Oostende , nu in combinatie met de licht-donkercontrasten en de fel wit en geel oplichtende voorgrond van schuim, zand en schelpen van de zeefdruk. Door de subtiele kleurovergangen gaat de achtergrond van het schilderij heel geleidelijk over in het goudbruin van de voorgrond, een staaltje van technisch meesterschap. Eens te meer leidde Tuymans\u0026#39; herhaalde bewerking van een onderwerp uit de realiteit tot een uiterst abstracte compositie.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e(bron: Manfred Sellink, Tommy Simoens -\u003cem\u003e\u0026nbsp;\u0026#39;Luc Tuymans - Grafische Werken 1989 - 2012\u0026#39;\u003c/em\u003e, Ludion, 2012)\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":4217,"title":"Feu d'artifice [Fireworks]","dimensions":"00:26:43","date_begin":"1982-01-01","material":"Videotape U-matic, KCA 30","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":13,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7792_M496","stream_count_app":55,"permalink":"feu-d-artifice-fireworks","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/697/large/cap192.jpg?1465913577","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eFeu d\u0026#39;artifice\u003c/em\u003e\u0026nbsp;is a recording of a performance by Luc Tuymans which took place in 7 July 1982 in the Koninklijke Gaanderijen (Royal Galleries), a collonade nearly 400 meters in length in Ostend, Belgium. \u003cem\u003eFeu d\u0026#39;artifice\u003c/em\u003e\u0026nbsp;is a key work within Tuymans\u0026#39; oeuvre. It is his first video-experiment, created during a period in the 80s in which he temporarily gave up on painting. The encounter with film techniques has been influential on his later canvases. For instance, paintings like\u003cem\u003e \u003ca href=\"http://ensembles.mhka.be/items/484\"\u003eLa Correspondance\u003c/a\u003e\u003c/em\u003e\u0026nbsp;and \u003ca href=\"http://ensembles.mhka.be/items/4108\"\u003e\u003cem\u003eAntichambre\u003c/em\u003e\u003c/a\u003e\u0026nbsp;are rooted in his interest in film.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eFeu d\u0026#39;artifice\u003c/em\u003e\u0026nbsp;is een opname van een performance van Luc Tuymans die op 7 juli 1982 plaatsvond in de Koninklijke Gaanderijen, een bijna 400 meter lange zuilengang in Oostende. \u003cem\u003eFeu d\u0026#39;artifice\u003c/em\u003e\u0026nbsp;is een sleutelwerk binnen het oeuvre van Tuymans. Het is zijn eerste video-experiment, gemaakt in een periode in de jaren \u0026#39;80 waarin hij het schilderden tijdelijk naast zich neerlegde. De kennismaking met filmische technieken is van grote invloed geweest op zijn latere schilderwerken. Schilderijen als\u003cem\u003e\u003ca href=\"http://ensembles.mhka.be/items/484\"\u003eLa Correspondance\u003c/a\u003e\u003c/em\u003e en\u0026nbsp;\u003ca href=\"http://ensembles.mhka.be/items/4108\"\u003e\u003cem\u003eAntichambre\u003c/em\u003e\u003c/a\u003e komen bijvoorbeeld direct voort uit zijn interesse voor film.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":4112,"title":"Firewood","dimensions":"92 x 60 cm","date_begin":"1994-01-01","material":"silckscreen; paper Rives 270 gr.","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSilkscreen on Rives 270 gr.; numbered: 21/65\u003c/p\u003e\r\n\r\n\u003cp\u003eStacked blocks of wood.\u003c/p\u003e\r\n","date_end":null,"reference":"BK6922_M161","stream_count_app":22,"permalink":"firewood","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/000/011/569/medium_500/Tuymans__Luc__Firewood__1991_2.jpg?1343302373","cached_actor_names":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/569/large/Tuymans__Luc__Firewood__1991_2.jpg?1343302373","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4138,"title":"Drumset (Series II)","dimensions":"44.1 x 34.3 cm","date_begin":"2003-01-01","material":"Paper J. Wathman 1961 HMP","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eColoured monoprint on J.Whatman 1961 HMP paper Ed. Brooke Alexander Editions \u0026amp; David Zwirner Gallery, New York 11 copies signed and Roman numbered\u003c/p\u003e\r\n","date_end":null,"reference":"BK7476_M330","stream_count_app":27,"permalink":"drumset-series-ii","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/000/011/631/medium_500/Tuymans__Luc___Drumset_Series_II__2003.jpg?1343375269","cached_actor_names":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/631/large/Tuymans__Luc___Drumset_Series_II__2003.jpg?1343375269","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4208,"title":"Ballroom Dancing","dimensions":"1050 x 750 mm","date_begin":"2007-01-01","material":"ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"multiple silkscreen print","publishing_process_id":1,"annotation":"\u003cp\u003eEd. Stedelijk Museum Amsterdam, Amsterdam Atelier Roger Vandaele, Antwerp 100 copies signed and numbered\u003c/p\u003e\r\n","date_end":null,"reference":"BK7642_M407","stream_count_app":18,"permalink":"ballroom-dancing","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/665/large/Tuymans__Luc__Ballroom_Dancing__2007photo_M_HKAclinckx.jpg?1343387687","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIn\u0026nbsp;\u003cem\u003eBallroom Dancing\u003c/em\u003e, Luc Tuymans indicts American policy post 9/11.\u0026nbsp; The picture is of a spruced up young couple dancing, everything apparently clean and proper.\u0026nbsp; But this is mere fa\u0026ccedil;ade, and Tuymans wants to pierce it.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026ldquo;I always took violence as a basic underlying structure in my work. The element of being afraid is a specific fascination.\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026ldquo;I don\u0026rsquo;t think art is derived from art, I think art is derived from reality.\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eThe reality of Luc Tuymans\u0026#39; work is always a double one.\u0026nbsp; \u0026nbsp;At first sight we have a graceful, aesthetic and classic image but at the same time there are subtle references to post 9/11 or the era of Bush and the neocons.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003cem\u003eBallroom Dancing\u003c/em\u003e\u003cem\u003e, portrayed as well is the regression of American society of that period, the return to an overt form of conservatism.\u0026nbsp; The classic, blissful, romantic and innocent ballroom dance\u003c/em\u003e \u0026agrave; la Fred Astaire and Ginger Rodgers, takes place above a marble floor with the seal of the state of Texas, where George Bush had been governor, where whites strut rednecked and Christian fundamentalism flourishes.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn \u003cem\u003eBallroom Dancing\u003c/em\u003e\u0026nbsp;neemt Luc Tuymans de Amerikaanse politiek na 9/11 op de korrel. Op de prent staat een piekfijn uitgedost jong koppel dat samen danst, alles ziet er schijnbaar proper uit. Het is een fa\u0026ccedil;ade, die Tuymans wil doorprikken.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026ldquo;I always took violence as a basic underlying structure in my work. The element of being afraid is a specific fascination.\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026ldquo;I don\u0026rsquo;t think art is derived from art, I think art is derived from reality.\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003eDe realiteit van Luc Tuymans\u0026#39;s werk is altijd dubbel. Op het eerste zicht lijkt het te gaan om een bevallig, esthetisch en klassiek beeld maar tegelijk wordt er subtiel verwezen naar het post 9/11 of tijdperk van de neocons of het Bushtijdperk.\u003c/p\u003e\r\n\r\n\u003cp\u003eIn\u003cem\u003e Ballroom Dancing\u003c/em\u003e wordt de regressie in de Amerikaanse samenleving van die dagen, die terugkeer naar die openlijke vorm van conservatisme geportretteerd. Het klassieke, vrolijke, zwierige, romantische en onschuldige stijldansen \u0026agrave; la Fred Astaire, Ginger Rodgers vindt plaats bovenop het in marmer uitgebeelde zegel van Texas, waar George Bush gouverneur was, waar blanken zich profileren als rednecks, waar het christelijk fundamentalisme welig tiert .\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":4108,"title":"Antichambre [Anteroom]","dimensions":"70 x 80 cm","date_begin":"1985-01-01","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":"M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eOther titles: Luster / De Blauwe Kamer\u003c/p\u003e\r\n","date_end":null,"reference":"BK005777","stream_count_app":39,"permalink":"antichambre-anteroom","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":"Luc Tuymans","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/000/011/571/large/Tuymans__Luc__Antichambre__1985.JPG?1343302926","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eAntichambre\u003c/strong\u003e\u0026nbsp;(the blue room) appears to be composed of grey and blue lines entangled on a grid, from out of which an image of a room in emphatic perspective seems to emerge. This far-reaching simplification recurs in all Luc Tuymans\u0026rsquo; work. Acrylic paint is applied to the canvases in broad brushstrokes, layer by layer. The finishing touch remains minimal, so one gets the impression of a quick sketch.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eAntichambre\u003c/strong\u003e\u0026nbsp;(de blauwe kamer) lijkt uit een wirwar van grijze en blauwe lijnen op een raster te zijn opgebouwd, waaruit een sterk perspectivisch beeld van een vertrek lijkt op te doemen. Deze sterk doorgedreven vereenvoudiging zien we in alle werken van Luc Tuymans terugkomen. Op de doeken wordt acrylverf met grote vegen aangebracht. De afwerking blijft miniem, waardoor men eerder de indruk krijgt van een vluchtige schets.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eAntichambre\u003c/strong\u003e\u0026nbsp;(la chambre bleue) ressemble \u0026agrave; un enchev\u0026ecirc;trement de lignes grises et bleues sur une grille, d\u0026#39;o\u0026ugrave; semble surgir l\u0026#39;image d\u0026#39;un d\u0026eacute;part lourd en perspectives. Nous observons cette simplification extr\u0026ecirc;me dans toutes les oeuvres de Luc Tuymans. Sur les toiles, de la peinture acrylique est appliqu\u0026eacute;e avec de gros pinceaux. La finition reste minime, ce qui donne plut\u0026ocirc;t une impression d\u0026#39;\u0026eacute;bauche superficielle.\u003c/p\u003e\r\n"}]},{"id":4188,"title":"Waterloo (nr.15)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK006979-015","stream_count_app":27,"permalink":"waterloo-nr-15","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/681/large/Tuymans__Luc__Waterloo_nr_15.jpg?1343392620","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eLuc Tuymans is undoubtedly one of the most important\u0026nbsp;painters of his generation. Since the late 1980s, he also starts working with a variety of printing techniques, yet his graphic work often remains overlooked. Tuymans experiments with techniques and supports to transform basic material that has its origin in photos, videos, computer images or polaroids into new images. The basis of these works are super-8 films\u0026nbsp;from the 80s. Tuymans harbours a fundamental distrust of the truth value of images. The dark and disturbing works cast a ghostly\u0026nbsp;light on history.\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\r\n\u003cdiv\u003e\r\n\u003cdiv id=\"_com_2\" uage=\"JavaScript\"\u003e\u0026nbsp;\u003c/div\u003e\r\n\u003c/div\u003e\r\n\u003c/div\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eLuc Tuymans is ongetwijfeld een van de belangrijkaste schilders van zijn generatie. Hoewel hij sinds het einde van de jaren \u0026lsquo;80 ook aan de slag gaat met uiteenlopende druktechnieken, blijft zijn grafisch oeuvre vaak onderbelicht. Tuymans experimenteert met technieken en dragers om basismateriaal, dat zijn oorsprong vindt in foto\u0026rsquo;s, video\u0026rsquo;s, computerbeelden of polaroids, om te zetten in nieuwe beelden. Aan de basis van deze werken liggen super-8 films uit de jaren \u0026rsquo;80. Tuymans koestert een fundamenteel wantrouwen tegen de waarheidswaarde van beelden. De duistere en verontrustende werken werpen een spookachtig licht op de geschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLuc Tuymans est incontestablement l\u0026rsquo;un des peintres les plus importants de sa g\u0026eacute;n\u0026eacute;ration. Bien qu\u0026rsquo;il produise une \u0026oelig;uvre graphique depuis la fin des ann\u0026eacute;es\u0026nbsp;80, \u0026agrave; l\u0026rsquo;aide de diff\u0026eacute;rentes techniques d\u0026rsquo;impressions, celle-ci demeure souvent trop peu mise en lumi\u0026egrave;re. Tuymans exp\u0026eacute;rimente des techniques et des supports pour transposer son mat\u0026eacute;riau de base, qui tire son origine de photos, de vid\u0026eacute;os, d\u0026rsquo;images num\u0026eacute;riques et de polaro\u0026iuml;ds, en nouvelles images. L\u0026rsquo;inspiration de ces \u0026oelig;uvres pr\u0026eacute;sent\u0026eacute;es ici vient de films\u0026nbsp;super-8 des ann\u0026eacute;es\u0026nbsp;80. Tuymans se m\u0026eacute;fie visc\u0026eacute;ralement de la valeur de v\u0026eacute;rit\u0026eacute; des images. Les \u0026oelig;uvres sombres et inqui\u0026eacute;tantes jettent une lumi\u0026egrave;re fantomatique sur l\u0026rsquo;histoire.\u003c/p\u003e\r\n"}]},{"id":4133,"title":"Drumset (Series I)","dimensions":"44.1 x 34.3 cm","date_begin":"2003-01-01","material":"Paper J. Wathman 1961 HMP","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eColoured monoprint on J.Whatman 1961 HMP paper Ed. Brooke Alexander Editions \u0026amp; David Zwirner Gallery, New York 2 copies signed and Roman numbered\u003c/p\u003e\r\n","date_end":null,"reference":"BK7475_M329","stream_count_app":26,"permalink":"drumset-series-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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/632/medium_500/Tuymans__Luc__Drumset_Series_I__2003.jpg?1343375700","cached_actor_names":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/632/large/Tuymans__Luc__Drumset_Series_I__2003.jpg?1343375700","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":7211,"title":"Polaroid_0779","dimensions":"8.8 x 11.4 cm ","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2006-01-01","reference":"S0345","stream_count_app":6,"permalink":"polaroid_0779","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/650/large/TUY001000003_193.jpg?1366635797","poster_credits":"(c)image: M HKA, Studio Tuymans","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":7344,"title":"Polaroid_0842","dimensions":"8.8 x 11.4 cm ","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2006-01-01","reference":"S0345","stream_count_app":6,"permalink":"polaroid_0842","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/836/large/TUY001000003_195.jpg?1367239422","poster_credits":"(c)image: M HKA, Studio Tuymans","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":7345,"title":"Polaroid_0843","dimensions":"8.8 x 11.4 cm","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2006-01-01","reference":"S0345","stream_count_app":6,"permalink":"polaroid_0843","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/837/large/TUY001000003_196.jpg?1367239625","poster_credits":"(c)image: M HKA, Studio Tuymans","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":7428,"title":"Flag","dimensions":"","date_begin":null,"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":"Private Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"flag","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/000/017/769/large/Flag.jpg?1370529352","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"Luc Tuymans about the *Flag*: *“What you can see here is the Flemish lion, and I just made a watercolor of it, and then I crumbled it together, and then pinned it on the wall. And then I did something I had never done before, I took a Polaroid of it, and it was such bad quality that it totally deleted the imagery, which is actually beautiful I think. And this was the first time I used Polaroid as a device to derive imagery.”*"},{"locale":"nl","description":"Luc Tuymans over de *Flag*: *“What you can see here is the Flemish lion, and I just made a watercolor of it, and then I crumbled it together, and then pinned it on the wall. And then I did something I had never done before, I took a Polaroid of it, and it was such bad quality that it totally deleted the imagery, which is actually beautiful I think. And this was the first time I used Polaroid as a device to derive imagery.”*\r\n\r\n...*“Dit maakte ik vanuit mijn walging voor het Vlaams Belang, waar toen in Antwerpen een op de drie op stemde. Nu zijn we in een nog gevaarlijker stadium beland met de heer Bart De Wever.\r\nDe N-VA is gewoon een eenmanspartij. Dat dertig procent van de Vlamingen op hem gestemd heeft, heeft De Wever te danken aan het feit dat hij integer overkomt. Maar dat is niet moeilijk als je hem vergelijkt met Yves Leterme.\r\nIk ben niet anti-Vlaams en hervormingen in dit land moeten bespreekbaar zijn. Maar ik ben wel tegen dat minderwaardigheidscomplex van de Vlaams-nationalisten dat is blijven hangen sinds de Eerste Wereldoorlog. De Wever is zogezegd een historicus, maar eigenlijk is hij een f***ing separatist. Neen, ze moeten mij echt niet naast die mens zetten.”*"},{"locale":"fr","description":""}]},{"id":9439,"title":"Simulation","dimensions":"403 x 600 cm","date_begin":"2007-01-01","material":"wall painting (temporary)","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy François Pinault Foundation, Venice","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2014-01-01","reference":"","stream_count_app":21,"permalink":"simulation--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/761/large/Tuymans_Luc_Simulation_2007_2014photoM_HKA1.jpg?1392718987","poster_credits":null,"translations":[{"locale":"en","description":"Since 1980, Luc Tuymans (b. 1958) has brought figuration back to painting. His trademarks are an understated painting technique, strong stylization and a cinematic approach. The subjects of the paintings are treated in a way that can turn well-known historical events into a banal motif, or conversely, elevate the everyday to universal heights. Tuymans also works in many other media (publications, graphic work, film and polaroids), and is a prolific curator as well. For *El Hotel Eléctrico*, he contributes an in-situ wall painting and an aquatint sketch. Taken together, these components comprise a new version of *Simulation* (2007). The respective work is part of a series of paintings from *Forever: The Management of Magic*.(http://www.davidzwirner.com/exhibition/forever-the-management-of-magic/page/3/) The entire series addresses the utopian, artificial architectural reality of Disney World. \r\n\r\n*Simulation* is a many-sided piece based on three parameters. First of all, Tuymans contextualizes the motif of the circle - a geometric figure that is prominently present in Disney's architectural vision of amusement parks. Here, a work by Tommy Simoens plays an important role. Simoens' piece bases itself on a 3D preliminary text for the film *Where the Wild Things Are* (John Lasseter, 1983). Tuymans' starting point is thus in part the work of a fellow artist. Finally, Tuymans underscores the development process of images. He associates the cinematic process with the function of memory. For Tuymans, a stopped image (a frame) in a film induces stillness, while in the case of painting that movement is created from standstill in a single image. The whole process of *Simulation* is thus akin to a stroll between different media. "},{"locale":"nl","description":"Luc Tuymans (°1958) brengt sinds 1980 figuratie terug in de schilderkunst. Een ingehouden schilderswijze, sterke stilering en filmische aanpak typeren zijn werk. De onderwerpen van de schilderijen herleiden bekende historische gebeurtenissen tot banale motieven, of omgekeerd: verheffen alledaagsheid tot universele hoogte. Tuymans hanteert echter ook andere media (edities, grafiek, film en polaroids) en is ook zelf actief als curator. Voor *El Hotel Eléctrico* brengt Tuymans een in situ-muurschildering en een aquarel. Gezamelijk presenteren deze componenten een nieuwe versie van *Simulation* (2007). Het werk maakt deel uit van een reeks schilderijen uit *Forever: The Management of Magic*.(http://www.davidzwirner.com/exhibition/forever-the-management-of-magic/page/3/) De hele serie thematiseert de utopische en artificiële architecturale werkelijkheid van Disney World. \r\n\r\n*Simulation* is een veelzijdig werk gebaseerd op drie parameters. Vooreerst contextualiseert Tuymans het motief van de cirkel - deze geometrische figuur is prominent aanwezig in Disney’s architecturale visie op pretparken. Daarbij speelt een werk van Tommy Simoens een belangrijke rol. Simoens baseerde zich op een driedimensionale voorstudie van de film *Where the Wild Things Are* (John Lasseter, 1983). Tuymans startpunt is dus deels een werk van een andere kunstenaar. Ten derde ligt de nadruk bij Tuymans op het ontwikkelingsproces van beelden. Hij koppelt het filmisch proces aan de werking van de herinnering. Volgens Tuymans werkt een stopgezet beeld (een frame) in een film voor verstilling, terwijl de schilderkunst beweging schept vanuit de stilstand in een enkelvoudig beeld. Het hele proces van *Simulation* is vergelijkbaar met een wandeling doorheen verschillende media. \r\n"},{"locale":"fr","description":"Dans les années 80, Luc Tuymans (°1958) réintroduit la figuration dans l’art pictural. Une technique retenue, une stylisation affirmée et une approche cinématographique caractérisent son œuvre. Les thèmes de ses toiles réduisent soit des événements historiques à des motifs banals, ou confèrent au contraire une dimension universelle à la banalité quotidienne. Tuymans se sert toutefois d’autres médias aussi (éditions, graphisme, films et polaroïds) et assure parfois la fonction de commissaire d’expositions. Pour El Hotel Eléctrico, il présente une peinture murale et une aquarelle. La peinture murale compose une nouvelle version de *Simulation* (2007). L’œuvre en question fait partie d’une série de tableaux intitulée *Forever: The Management of Magic*.(http://www.davidzwirner.com/exhibition/forever-the-management-of-magic/page/3/) Toute la série s’articule autour de la réalité architecturale utopique et artificielle de Disney World.\r\n\r\nSimulation est une œuvre plurivoque qui s’appuie sur trois paramètres. Tuymans contextualise en premier lieu le motif du cercle – cette figure géométrique tellement prééminente dans la vision architecturale des parcs d’attractions de Disney. Une œuvre de Tommy Simoens joue un rôle important à cet égard : ce dernier s’est inspiré d’une étude préparatoire tridimensionnelle du film Where the Wild Things Are (Lasseter, 1983). Le point de départ de Tuymans est donc en partie l’œuvre d’un autre artiste. En troisième lieu, il met l’accent sur le processus de développement des images. Il établit un lien entre le processus cinématographique et le fonctionnement de la mémoire. Selon Tuymans, une image figée (un photogramme) assure un certain calme dans un film, tandis que la peinture génère du mouvement à partir de l’immobilité d’une seule image. Tout le processus de Simulation est comparable à une promenade à travers différents médias.\r\n"}]},{"id":9498,"title":"Wiedergutmachung","dimensions":"84 x 57 cm","date_begin":"1989-01-01","material":"watercolour, paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":20,"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":15,"permalink":"wiedergutmachung--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/772/large/Tuymans_Luc_Wiedergutmachung_1989photoM_HKA1.jpg?1392728710","poster_credits":null,"translations":[{"locale":"en","description":"As is the case with the most of Tuymans his work,  does not attract the picture itself our attention, but the possibility of reconstruction of a moment or a fact. This watercolor treated the theme of \"The Wiedergutmachung\", a German system with which the German government after World War II irrationally money to Holocaust survivors and others who were direct victims of the Nazis. The word literally translated means 'to make it good again'."},{"locale":"nl","description":"Zoals wel meer het geval is bij Tuymans trekt niet zozeer het gepresenteerde beeld zelf onze aandacht, maar de mogelijkheid tot reconstructie van een moment of een feit. Met deze aquarel  behandeld de kunstenaar het thema van 'De Wiedergutmachung', een Duits systeem waarmee de Duitse regering na de Tweede Wereldoorlog geld uitkeerde aan overlevenden van de Holocaust en anderen die direct slachtoffer werden van de nazi's. Het woord 'Wiedergutmachung' betekent letterlijk vertaald weer goed maken."},{"locale":"fr","description":""}]},{"id":9577,"title":"Peaches and Technicolor","dimensions":"76 x 56 cm","date_begin":"2013-01-01","material":"screenprint on paper, ed. 75 + XV+ 10 AP + 5 AP","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Luc Tuymans print","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0478","stream_count_app":19,"permalink":"peaches-and-technicolor","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":"Luc Tuymans","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/000/020/716/large/luc-tuymans.jpg?1392632283","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eAquisition on behalf of the Flemish Comunity.The pictures were inspired by two images from an advertising film from 1913, whose lack of sharpness and weak colour saturation particularly interested him as a painter.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eTweeluik van 2 originele zeefdrukken op BFK Rives velin 250g, lompenhoudend 100% katoen, handgeschept papier, in een linnen map met zilverstempeling. Blad: 76 cm hoog en 56 cm breed. Beeld Peaches: 60 cm hoog en 40,5 cm breed Beeld Technicolor: 60 cm hoog en 45,1 cm breed Peaches en Technicolor zijn gedrukt in resp. 9 en 10 drukgangen in Antwerpen bij Tubbax onder supervisie van meester-drukker Roger Vandaele. Uitgave 2013. Peaches en Technicolor waren in eerste instantie schilderijen. Voor de tentoonstelling Constable, Delacroix, Friedrich, Goya \u0026ndash; A Shock to the Senses in de Albertinum, Galerie Neue Meister te Dresden realiseerde Luc Tuymans in mei 2013 in de traphal van het Schauspielhaus twee muurschilderingen van Peaches en van Technicolor . Ze werden voor het eerst getoond (samen met de ALLO suite) in de Zwirner galerie te Londen in de herfst van 2012, te zien was. Beide onderwerpen zijn ontleend aan een reclamefilm uit 1913 waarvan de onscherpe beelden en zwakke kleursaturatie de kunstenaar intrigeerden.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":9567,"title":"4PM ","dimensions":"70 x 56 cm ","date_begin":"2011-01-01","material":"screenprint on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7811_M515","stream_count_app":17,"permalink":"4pm","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":"Luc Tuymans","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/000/020/725/large/4pm_screenprint.jpg?1392641169","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eAquisition on behalf of the Flemish Comunity. View of a curtain before the window at 4pm., screenprint in 12 colours on BKF Rives 250g/m\u0026sup2; paper. Published by Graphic Matter, Antwerp. Printed by Roger Vandaele at Tubbax, Antwerp. Signed and numbered in pencil. Edition of 60 signed and numbered in Arabic numerals. 10 AP\u003c/p\u003e\r\n\r\n\u003cp\u003eThe image originated from a stay of Luc Tuymans in a hotel room in Malm\u0026ouml; in 2009 during the setup of the exhibition \u0026quot;Against the Day\u0026quot;. The subject of the print is a window with curtains. City ​​lights are shining through. The result is a darkish brown-green image. The image is an evocation of a melancholic and alienating stay. \u2028\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":9572,"title":"Orchid","dimensions":"paper: 73.5 x 56 cm , image 56.5 x 43.5 cm","date_begin":"2013-01-01","material":"screenprint on Rives Arches 250 gr","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eHet schilderij 4orchidee uit 1998 is deel van de reeks \u0026lsquo;Veiligheid\u0026rsquo; van Tuymans waartoe ook \u0026lsquo;Lumumba\u0026rsquo; en \u0026lsquo;De Missie\u0026rsquo; behoren.\u003c/p\u003e\r\n","date_end":null,"reference":"UFO96","stream_count_app":18,"permalink":"orchid","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":"Luc Tuymans","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/000/020/718/large/orchid.jpg?1392633182","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Green is both a highly natural and highly artificial color. It seems to signify both organic growth and disintegration. The green color in the orchid painting is taken from a see-through-plastic notebook cover, so the flower is seen through an artificial filter. I\u0026#39;ve read that it is statistically proven that the semen of men is getting weaker and less fertile and that at the same time some plants\u0026#39; stamens have changed sex in order to survive. I see this flower as feminine.\u0026quot;\u003c/em\u003e (Luc\u0026nbsp;Tuymans)\u003c/p\u003e\r\n\r\n\u003cp\u003eAquisition on behalf of the Flemish Comunity. \u003cem\u003eOrchid\u003c/em\u003e is a screenprint based on the well-known painting \u003cem\u003eOrchid\u003c/em\u003e\u0026nbsp;from 1998 .Printed by\u0026nbsp;Tubbax, Antwerp under supervision of Roger Vandaele, ed. 80 + 5 AP.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Green is both a highly natural and highly artificial color. It seems to signify both organic growth and disintegration. The green color in the orchid painting is taken from a see-through-plastic notebook cover, so the flower is seen through an artificial filter. I\u0026#39;ve read that it is statistically proven that the semen of men is getting weaker and less fertile and that at the same time some plants\u0026#39; stamens have changed sex in order to survive. I see this flower as feminine.\u0026quot;\u003c/em\u003e (Luc\u0026nbsp;Tuymans)\u003c/p\u003e\r\n\r\n\u003cpre data-fulltext=\"\" data-placeholder=\"Vertaling\" dir=\"ltr\" id=\"tw-target-text\"\u003e\r\n\u003cspan style=\"font-family:arial,helvetica,sans-serif;\"\u003eAankoop namens de Vlaamse Gemeenschap . \u003cem\u003eOrchid\u003c/em\u003e is een zeefdruk op basis van het bekende schilderij \u003cem\u003eOrchidee\u003c/em\u003e van 1998 . Druk van Tubbax, Antwerpen onder leiding van Roger Vandaele , ed. 80 + 5 AP .\u003c/span\u003e\u003c/pre\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003e\u0026quot;Green is both a highly natural and highly artificial color. It seems to signify both organic growth and disintegration. The green color in the orchid painting is taken from a see-through-plastic notebook cover, so the flower is seen through an artificial filter. I\u0026#39;ve read that it is statistically proven that the semen of men is getting weaker and less fertile and that at the same time some plants\u0026#39; stamens have changed sex in order to survive. I see this flower as feminine.\u0026quot;\u003c/em\u003e (Luc\u0026nbsp;Tuymans)\u003c/p\u003e\r\n\r\n\u003cpre data-fulltext=\"\" data-placeholder=\"Vertaling\" dir=\"ltr\" id=\"tw-target-text\"\u003e\r\n\u003cspan style=\"font-family:arial,helvetica,sans-serif;\"\u003eAquisition au nom du Comunity flamand. \u003cem\u003eOrchid\u003c/em\u003e est une s\u0026eacute;rigraphie bas\u0026eacute;e sur \u003cem\u003el\u0026#39;Orchid\u0026eacute;e\u003c/em\u003e de 1998 .Imprim\u0026eacute;e par Tubbax , Anvers sous la direction de Roger Vandaele, \u0026eacute;d. 80 + 5 AP.\u003c/span\u003e\u003c/pre\u003e\r\n"}]},{"id":9570,"title":"Plates","dimensions":"5 x (70 x 50 cm)","date_begin":"2012-01-01","material":"portfolio of 5 lithographs on Velin d ‘Arches","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"UFO97","stream_count_app":17,"permalink":"plates--2","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Luc Tuymans","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/000/020/722/large/platesensemble.png?1392636497","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eAquisition on behalf of the Flemish Comunity. This series depicts ceramic plates from the artist\u0026rsquo;s personal collection. The dinner plates, Eastern European in origin, refer to the local ceramics industry that was once a symbol of national pride during the communist era. Ed of 50. Numbered and signed by the artist on the cover sheet of the portfolio.\u003c/p\u003e\r\n\r\n\u003cp\u003eSeries printed after the painting \u003cem\u003ePlate\u003c/em\u003e of 2011. Plates is evoking the atmosphere of the bourgeois household, at the same time nostalgic and claustrophobic.These images point to the bourgeois environment with all their hidden secrets, sometimes trivial, sometimes terrible .\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"line-height:1.6\"\u003eFor the exhibition, titled \u003cem\u003eAllo!\u003c/em\u003e in 2012, Tuymans created a series of wall paintings especially conceived for the rotunda of the Me\u0026scaron;trović Pavilion in Zagreb, based upon this suite of lithographs.\u0026nbsp;\u003c/span\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13832,"title":"The Gap. Selected Abstract Art from Belgium","dimensions":"29 x 24.9 cm, 149 p., language : English, limited edition : 766/1200, publisher : Parasol unit foundation for contemporary art, London, ISBN : 978-09-5735-188-2","date_begin":"2016-01-01","material":"Ink, paper","short_description":"\u003cp\u003eCurator of the exhibitions in London (Parasol unit foundation for\u0026nbsp;contemporary art)\u0026nbsp;and\u0026nbsp;Antwerp (Museum van Hedendaagse Kunst) : Luc Tuymans.\u003c/p\u003e\u003cp\u003eEditors : Ziba Ardalan for Parasol unit foundation for contemporary art, London \u0026amp; Kate Christina Mayne for Studio Luc Tuymans, Antwerpen.\u003c/p\u003e\u003cp\u003eTexts : Ziba Ardalan, Luc Tuymans, Gregory Volk, Jes\u0026uacute;s Fuenmayor, Ulrich Loock, Bruno Leit\u0026atilde;o, Kate Mayne, Ken Pratt, Joris D\u0026#39;hooghe \u0026amp; Cathryn Drake.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA,  Antwerp","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2027/678","stream_count_app":19,"permalink":"the-gap-selected-abstract-art-from-belgium","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/402/large/__Photo_M_HKA__64.jpg?1458643161","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":13852,"title":"The Gap - Abstracte kunst uit België. Een selectie.","dimensions":"28.5 x 24.5 cm, 31 p., language : Dutch, publisher : Museum van Hedendaagse Kunst, Antwerpen","date_begin":"2016-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2027/679","stream_count_app":9,"permalink":"the-gap-abstracte-kunst-uit-belgie-een-selectie","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/403/large/__Photo_M_HKA__65.jpg?1458644065","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eBooklet with Dutch translations of the texts in the book \u0026#39;The Gap. Selected Abstract Art from Belgium\u0026#39;, published in 2015 by Parasol unit, London.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditor : Liliane Dewachter (Curator M HKA).\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Ziba Ardalan, Bart De Baere (Director M HKA), Joris D\u0026#39;hooghe, Cathryn Drake, Jes\u0026ugrave;s Fuenmayor, Bruno Leit\u0026atilde;o, Ulrich Loock, Kate Christina Mayne, Ken Pratt, Luc Tuymans (Curator exhibition) \u0026amp; Gregory Volk.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eAvailable in the M HKA-bookshop.\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eBooklet with Dutch translations of the texts in the book \u0026#39;The Gap. Selected Abstract Art from Belgium\u0026#39;, published in 2015 by Parasol unit, London.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditor : Liliane Dewachter (Curator M HKA).\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Ziba Ardalan, Bart De Baere (Director M HKA), Joris D\u0026#39;hooghe, Cathryn Drake, Jes\u0026ugrave;s Fuenmayor, Bruno Leit\u0026atilde;o, Ulrich Loock, Kate Christina Mayne, Ken Pratt, Luc Tuymans (Curator exhibition) \u0026amp; Gregory Volk.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eVerkrijgbaar in de M HKA-bookshop.\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eBooklet with Dutch translations of the texts in the book \u0026#39;The Gap. Selected Abstract Art from Belgium\u0026#39;, published in 2015 by Parasol unit, London.\u003c/p\u003e\r\n\r\n\u003cp\u003eEditor : Liliane Dewachter (Curator M HKA).\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Ziba Ardalan, Bart De Baere (Director M HKA), Joris D\u0026#39;hooghe, Cathryn Drake, Jes\u0026ugrave;s Fuenmayor, Bruno Leit\u0026atilde;o, Ulrich Loock, Kate Christina Mayne, Ken Pratt, Luc Tuymans (Curator exhibition) \u0026amp; Gregory Volk.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eDisponible dans le M HKA-bookshop.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"}]},{"id":4172,"title":"Prague (nr.1)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK006979-001","stream_count_app":26,"permalink":"prague-nr-1","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/654/large/Tuymans__Luc___Prague_nr1_.jpg?1343381632","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eLuc Tuymans is undoubtedly one of the most important\u0026nbsp;painters of his generation. Since the late 1980s, he also starts working with a variety of printing techniques, yet his graphic work often remains overlooked. Tuymans experiments with techniques and supports to transform basic material that has its origin in photos, videos, computer images or polaroids into new images. The basis of these works are super-8 films\u0026nbsp;from the 80s. Tuymans harbours a fundamental distrust of the truth value of images. The dark and disturbing works cast a ghostly\u0026nbsp;light on history.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eLuc Tuymans is ongetwijfeld een van de belangrijkaste schilders van zijn generatie. Hoewel hij sinds het einde van de jaren \u0026lsquo;80 ook aan de slag gaat met uiteenlopende druktechnieken, blijft zijn grafisch oeuvre vaak onderbelicht. Tuymans experimenteert met technieken en dragers om basismateriaal, dat zijn oorsprong vindt in foto\u0026rsquo;s, video\u0026rsquo;s, computerbeelden of polaroids, om te zetten in nieuwe beelden. Aan de basis van deze werken liggen super-8 films uit de jaren \u0026rsquo;80. Tuymans koestert een fundamenteel wantrouwen tegen de waarheidswaarde van beelden. De duistere en verontrustende werken werpen een spookachtig licht op de geschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLuc Tuymans est incontestablement l\u0026rsquo;un des peintres les plus importants de sa g\u0026eacute;n\u0026eacute;ration. Bien qu\u0026rsquo;il produise une \u0026oelig;uvre graphique depuis la fin des ann\u0026eacute;es\u0026nbsp;80, \u0026agrave; l\u0026rsquo;aide de diff\u0026eacute;rentes techniques d\u0026rsquo;impressions, celle-ci demeure souvent trop peu mise en lumi\u0026egrave;re. Tuymans exp\u0026eacute;rimente des techniques et des supports pour transposer son mat\u0026eacute;riau de base, qui tire son origine de photos, de vid\u0026eacute;os, d\u0026rsquo;images num\u0026eacute;riques et de polaro\u0026iuml;ds, en nouvelles images. L\u0026rsquo;inspiration de ces \u0026oelig;uvres pr\u0026eacute;sent\u0026eacute;es ici vient de films\u0026nbsp;super-8 des ann\u0026eacute;es\u0026nbsp;80. Tuymans se m\u0026eacute;fie visc\u0026eacute;ralement de la valeur de v\u0026eacute;rit\u0026eacute; des images. Les \u0026oelig;uvres sombres et inqui\u0026eacute;tantes jettent une lumi\u0026egrave;re fantomatique sur l\u0026rsquo;histoire.\u003c/p\u003e\r\n"}]},{"id":4117,"title":" Vlaams dorp [Flemish village]","dimensions":"110.5 x 144.5 cm","date_begin":"1995-01-01","material":"oil, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":141,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eTranslated title: Flemish Village\u003c/p\u003e\r\n","date_end":null,"reference":"BK6883","stream_count_app":65,"permalink":"vlaams-dorp-flemish-village","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eVor uns taucht eine typische fl\u0026auml;mische Dorfsansicht auf, so wie scheinbar so viele gemalt worden sind. Wenn die Zuschauer aber kurz vor diesem \u0026lsquo;Polderdorf\u0026rsquo; stehenbleiben, bekommen sie das Gef\u0026uuml;hl, das etwas nicht stimmt. Fenster fehlen, die T\u0026uuml;ren und Mauern sind geschlossen. Die Friedlichkeit, die meistens von solchen Szenen ausgeht, fehlt, und stattdessen geht eine Drohung davon aus. Es entgeht eine ganze Welt an unserem Blick. Dinge sind unsichtbar oder fehlen und die Leere wirkt befremdend. Dieses befremdende, unbequeme Gef\u0026uuml;hl nennt man \u0026lsquo;das Unheimliche\u0026rsquo;, das Fremde, das Unvertraute. Trotzdem scheinen Tuymans\u0026rsquo; Kunstwerke auf den ersten Blick das Vertraute, das Heimliche wiederzugeben, bis man sich der Drohung, die von der Totenstille ausgeht, bewusst wird. Oder wie Tuymans selber sagt: \u003cem\u003e\u0026lsquo;Bilder sollen \u0026ndash; wenn sie einen Effekt erzielen wollen \u0026ndash; eine schreckliche Stille in sich tragen, eine gef\u0026uuml;llte Stille oder Leere. \u003c/em\u003e\u003cem\u003eDie Zuschauer sollen bewegungslos werden vor dem Bild, erstarren.\u0026rsquo;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eVlaams dorp \u003c/em\u003e(dt. Fl\u0026auml;misches Dorf) ist Teil der Heimatserie 1995, in dem Tuymans neben einem urfl\u0026auml;mischen Dorf auch den Yserturm und den Fl\u0026auml;mischen L\u0026ouml;wen darstellt, die Symbole par exellence des einst so idyllischen fl\u0026auml;mischen Nationalismus. Die Verwendung von fahlen Farben und die Drohung, anstatt des Friedens, die von dem Bild ausgeht, geben aber die Transformation von den nationalistischen Symbolen in der extrem rechten Ideologie wieder. F\u0026uuml;r Tuymans sind es dann auch nur hohle, leere Symbole. Das Werk schlie\u0026beta;t auch technisch an Tuymans Gesamtwerk an. Es ist eine \u0026lsquo;authentische F\u0026auml;lschung\u0026rsquo;, gemalt nach einem Polaroid, ein Model oder, wie in diesem Fall, nach einem existierenden \u0026Ouml;lfarbegem\u0026auml;lde. Diese Arbeitsweise ist keine freiwillige Wahl des K\u0026uuml;nstlers, aber in seinen Augen ein notwendiges \u0026Uuml;bel. Sind immerhin nicht alle Bilder schon mal benutzt worden? Demzufolge bleibt dem K\u0026uuml;nstler nichts anderes \u0026uuml;brig als die Scham des unfreiwilligen Kopierens halber in eine geeignete Konstruktion zu verwandeln. Aber das Endziel liegt f\u0026uuml;r\u0026nbsp;Tuymans\u0026nbsp;nicht in dem benutzten Medium. Nicht wie er es wiedergibt,\u0026nbsp;sondern was er wiedergibt\u0026nbsp;ist wichtig.\u0026nbsp;\u0026lsquo;Nicht\u0026nbsp;das neue Medium oder die neue Technik sind wichtig. Viel wichtiger ist die Mehrdeutigkeit.\u0026rsquo;.\u003cbr /\u003e\r\n\u0026nbsp;\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/639/medium_500/Tuymans__Vlaams_dorp___photo_clinckx.jpg?1343378782","cached_actor_names":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/639/large/Tuymans__Vlaams_dorp___photo_clinckx.jpg?1343378782","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eBefore us looms a typical Flemish village-scene, seemingly like so many that have already been painted through the ages. If, however, the viewer briefly pauses in front of this polder-village, he might get the feeling that there\u0026rsquo;s something not quite right. There are no windows, the doors and walls are closed. The peacefulness that such scenes usually convey is missing, with a sense of menace having taken its place. This void has an estranging air, and the uneasy feeling is characterized as \u0026lsquo;das Unheimliche\u0026rsquo;, unfamiliar, even sinister. Nonetheless, Tuymans\u0026rsquo; art works at first sight seem to display the familiar, \u0026lsquo;das Heimliche\u0026rsquo;, until you become aware of the threat emanating from this deathly silence. As Tuymans himself puts it: \u003cem\u003e\u0026lsquo;Images must \u0026ndash; when they wish to achieve an effect \u0026ndash; contain a terrible silence within them, a filled silence or void. The viewer must be motionless in front of the image, be numbed.\u0026rsquo;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eVlaams Dorp\u003c/em\u003e (\u0026lsquo;Flemish Village\u0026rsquo;) is part of the \u003cem\u003eHeimat \u003c/em\u003e(\u0026lsquo;Home\u0026rsquo;) series from 1995, in which Tuymans depicts not only a very typical Flemish village, but also the Yser Tower and the Flemish Lion, two of the clearest symbols for the idealistic Flemish nationalism. The use of faded colours and the threat, instead of peace, that is formed from the scenery show, however, the transformation of those nationalist symbols in the extreme right-wing ideology. For Tuymans, it are, therefore, merely hollow symbols. Technically, this work also fits Tuymans\u0026rsquo; oeuvre: it\u0026rsquo;s an \u0026lsquo;authentic forgery\u0026rsquo;, painted by the example of a polaroid, a model, or, in this case, an existing oil painting. That method of working is not a free choice made by the artist, but, according to Tuymans, a necessary evil. After all, aren\u0026rsquo;t all images used once already? Consequently, the artist is left with nothing else than shame about turning the unwilling copying in a workable construction. But the final goal for Tuymans is not the used medium. It is not a matter of how he depicts something, rather what he depicts: \u003cem\u003e\u0026ldquo;Not the new medium or the new technique counts. What is very important is the stratification of the meaning.\u0026rsquo;\u0026#39;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eVoor ons doemt een typisch Vlaams dorpsgezicht op zoals er schijnbaar zovele geschilderd zijn. Als de toeschouwer echter even blijft stilstaan voor dit polderdorp, krijgt hij het gevoel dat er iets niet klopt. Ramen ontbreken, de deuren en muren zijn gesloten. De vredigheid die dergelijke taferelen meestal uitschijnen, ontbreekt en in de plaats gaat er een dreiging van uit. Er ontsnapt een hele wereld aan ons oog, dingen zijn onzichtbaar of ontbreken en die leegte werkt bevreemdend. Dit bevreemdende, ongemakkelijke gevoel wordt gekenmerkt als \u0026lsquo;das Unheimliche\u0026rsquo;, het vreemde, onvertrouwde. Nochtans lijken de kunstwerken van Tuymans op het eerste gezicht het vertrouwde, \u0026lsquo;das Heimliche\u0026rsquo; weer te geven, tot je je bewust wordt van de dreiging die van de doodse stilte uitgaat. Of zoals Tuymans zelf zegt: \u003cem\u003e\u0026lsquo;Beelden moeten -wanneer ze een effect willen sorteren \u0026ndash; een verschrikkelijke stilte in zich dragen, een gevulde stilte of leegte. De kijker moet bewegingloos worden voor het beeld, verstijven.\u0026rsquo;\u0026nbsp;\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eVlaams dorp\u003c/em\u003e\u0026nbsp;kadert in de Heimat-serie uit 1995, waarin Tuymans naast een oervlaams dorp ook de \u003cem\u003e\u003ca href=\"http://ensembles.mhka.be/items/4118\"\u003eIjzertoren\u003c/a\u003e\u003c/em\u003e\u0026nbsp;en de Vlaamse leeuw afbeeldt, d\u0026eacute; symbolen van het eens zo idealistische Vlaams nationalisme. Het fletse kleurgebruik en de dreiging die in plaats van de vredigheid van het tafereel uitgaat, geven echter de transformatie weer van die nationalistische symbolen in de extreem-rechtse ideologie. Voor Tuymans zijn het dan ook slechts holle, lege symbolen. Het werk sluit ook technisch aan bij Tuymans\u0026rsquo; oeuvre. Het is een \u0026lsquo;authentieke vervalsing\u0026rsquo;, geschilderd naar een polaroid, een model of, zoals in dit geval, naar een bestaand olieverfschilderij . Deze manier van werken is geen vrijwillige keuze van de kunstenaar maar in zijn ogen een noodzakelijk kwaad. Zijn immers niet alle beelden al eens gebruikt? Bijgevolg rest er een kunstenaar niets anders dan de schaamte omwille van het onvrijwillig kopi\u0026euml;ren om te buigen in een werkbare constructie. Maar het uiteindelijke doel ligt voor Tuymans niet in het gebruikte medium. Niet hoe hij weergeeft, wel wat hij weergeeft is van belang. \u003cem\u003e\u0026lsquo;Niet het nieuwe medium of de nieuwe techniek zijn belangrijk. Veel belangrijker is de gelaagdheid van de betekenis.\u0026rsquo;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eDevant nous appara\u0026icirc;t une vue d\u0026rsquo;un village flamand typique, comme on en a peint tant d\u0026rsquo;autres apparemment. Sauf que si on s\u0026rsquo;attarde devant ce tableau d\u0026rsquo;un village des Polders, on a la sensation que quelque chose cloche. Les fen\u0026ecirc;tres manquent, les portes et les murs sont ferm\u0026eacute;s. Non seulement la tranquillit\u0026eacute; qui se d\u0026eacute;gage en g\u0026eacute;n\u0026eacute;ral de telles sc\u0026egrave;nes fait d\u0026eacute;faut, mais on sent au contraire comme une menace qui en \u0026eacute;mane. Tout un monde \u0026eacute;chappe \u0026agrave; notre regard, certaines choses sont invisibles ou manquent et ce vide exerce un effet \u0026eacute;trange. Ce sentiment bizarre, inconfortable, se d\u0026eacute;finit comme \u003cem\u003edas Unheimliche\u003c/em\u003e, l\u0026rsquo;inqui\u0026eacute;tante \u0026eacute;tranget\u0026eacute;. Pourtant \u0026agrave; premi\u0026egrave;re vue, les \u0026oelig;uvres de Tuymans restituent \u003cem\u003edas Heimliche\u003c/em\u003e, le familier rassurant, jusqu\u0026rsquo;\u0026agrave; ce qu\u0026rsquo;on prenne conscience de la menace de ce silence de mort qui en \u0026eacute;merge. Ou comme l\u0026rsquo;affirme Tuymans en personne\u0026nbsp;: \u003cem\u003e\u0026laquo;\u0026nbsp;\u003c/em\u003eLes images doivent \u0026ndash; lorsqu\u0026rsquo;elles veulent produire un effet \u0026ndash; receler un silence terrifiant, un silence ou un vide rempli. Il faut que la vue de l\u0026rsquo;image rende le spectateur immobile, qu\u0026rsquo;elle le fige.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n"}]},{"id":4176,"title":"Refribell (nr.5)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK006979-005","stream_count_app":28,"permalink":"refribell-nr-5","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/649/large/Tuymans__Luc__Refribell_nr_5.jpg?1343380752","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eLuc Tuymans is undoubtedly one of the most important\u0026nbsp;painters of his generation. Since the late 1980s, he also starts working with a variety of printing techniques, yet his graphic work often remains overlooked. Tuymans experiments with techniques and supports to transform basic material that has its origin in photos, videos, computer images or polaroids into new images. The basis of these works are super-8 films\u0026nbsp;from the 80s. Tuymans harbours a fundamental distrust of the truth value of images. The dark and disturbing works cast a ghostly\u0026nbsp;light on history.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eLuc Tuymans is ongetwijfeld een van de belangrijkaste schilders van zijn generatie. Hoewel hij sinds het einde van de jaren \u0026lsquo;80 ook aan de slag gaat met uiteenlopende druktechnieken, blijft zijn grafisch oeuvre vaak onderbelicht. Tuymans experimenteert met technieken en dragers om basismateriaal, dat zijn oorsprong vindt in foto\u0026rsquo;s, video\u0026rsquo;s, computerbeelden of polaroids, om te zetten in nieuwe beelden. Aan de basis van deze werken liggen super-8 films uit de jaren \u0026rsquo;80. Tuymans koestert een fundamenteel wantrouwen tegen de waarheidswaarde van beelden. De duistere en verontrustende werken werpen een spookachtig licht op de geschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLuc Tuymans est incontestablement l\u0026rsquo;un des peintres les plus importants de sa g\u0026eacute;n\u0026eacute;ration. Bien qu\u0026rsquo;il produise une \u0026oelig;uvre graphique depuis la fin des ann\u0026eacute;es\u0026nbsp;80, \u0026agrave; l\u0026rsquo;aide de diff\u0026eacute;rentes techniques d\u0026rsquo;impressions, celle-ci demeure souvent trop peu mise en lumi\u0026egrave;re. Tuymans exp\u0026eacute;rimente des techniques et des supports pour transposer son mat\u0026eacute;riau de base, qui tire son origine de photos, de vid\u0026eacute;os, d\u0026rsquo;images num\u0026eacute;riques et de polaro\u0026iuml;ds, en nouvelles images. L\u0026rsquo;inspiration de ces \u0026oelig;uvres pr\u0026eacute;sent\u0026eacute;es ici vient de films\u0026nbsp;super-8 des ann\u0026eacute;es\u0026nbsp;80. Tuymans se m\u0026eacute;fie visc\u0026eacute;ralement de la valeur de v\u0026eacute;rit\u0026eacute; des images. Les \u0026oelig;uvres sombres et inqui\u0026eacute;tantes jettent une lumi\u0026egrave;re fantomatique sur l\u0026rsquo;histoire.\u003c/p\u003e\r\n"}]},{"id":4186,"title":"Waterloo (nr.14)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK006979-014","stream_count_app":29,"permalink":"waterloo-nr-14","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/682/large/Tuymans__Luc__Waterloo__nr14.jpg?1343392828","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eLuc Tuymans is undoubtedly one of the most important\u0026nbsp;painters of his generation. Since the late 1980s, he also starts working with a variety of printing techniques, yet his graphic work often remains overlooked. Tuymans experiments with techniques and supports to transform basic material that has its origin in photos, videos, computer images or polaroids into new images. The basis of these works are super-8 films\u0026nbsp;from the 80s. Tuymans harbours a fundamental distrust of the truth value of images. The dark and disturbing works cast a ghostly\u0026nbsp;light on history.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eLuc Tuymans is ongetwijfeld een van de belangrijkaste schilders van zijn generatie. Hoewel hij sinds het einde van de jaren \u0026lsquo;80 ook aan de slag gaat met uiteenlopende druktechnieken, blijft zijn grafisch oeuvre vaak onderbelicht. Tuymans experimenteert met technieken en dragers om basismateriaal, dat zijn oorsprong vindt in foto\u0026rsquo;s, video\u0026rsquo;s, computerbeelden of polaroids, om te zetten in nieuwe beelden. Aan de basis van deze werken liggen super-8 films uit de jaren \u0026rsquo;80. Tuymans koestert een fundamenteel wantrouwen tegen de waarheidswaarde van beelden. De duistere en verontrustende werken werpen een spookachtig licht op de geschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLuc Tuymans est incontestablement l\u0026rsquo;un des peintres les plus importants de sa g\u0026eacute;n\u0026eacute;ration. Bien qu\u0026rsquo;il produise une \u0026oelig;uvre graphique depuis la fin des ann\u0026eacute;es\u0026nbsp;80, \u0026agrave; l\u0026rsquo;aide de diff\u0026eacute;rentes techniques d\u0026rsquo;impressions, celle-ci demeure souvent trop peu mise en lumi\u0026egrave;re. Tuymans exp\u0026eacute;rimente des techniques et des supports pour transposer son mat\u0026eacute;riau de base, qui tire son origine de photos, de vid\u0026eacute;os, d\u0026rsquo;images num\u0026eacute;riques et de polaro\u0026iuml;ds, en nouvelles images. L\u0026rsquo;inspiration de ces \u0026oelig;uvres pr\u0026eacute;sent\u0026eacute;es ici vient de films\u0026nbsp;super-8 des ann\u0026eacute;es\u0026nbsp;80. Tuymans se m\u0026eacute;fie visc\u0026eacute;ralement de la valeur de v\u0026eacute;rit\u0026eacute; des images. Les \u0026oelig;uvres sombres et inqui\u0026eacute;tantes jettent une lumi\u0026egrave;re fantomatique sur l\u0026rsquo;histoire.\u003c/p\u003e\r\n"}]},{"id":13752,"title":"Trouble Spot • Painting","dimensions":"27 x 23.5 cm, 174 p., language : Dutch, French, English, German, publisher : MUseum van Hedendaagse Kunst/NICC, Antwerpen, ISBN : 90-72828-06-2","date_begin":"1999-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 1997/557","stream_count_app":21,"permalink":"trouble-spot-painting","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/393/large/__Photo_M_HKA__69.jpg?1458572352","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eEditors : Narcisse Tordoir, Luc Tuymans \u0026amp; Ronald Van de Sompel (Curator M HKA).\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Cyril Jarton, Wim Peeters, Hans Rudolf Reust, Vincent Geyskens, Narcisse Tordoir \u0026amp; Luc Tuymans.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eAvailable in the M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEditors : Narcisse Tordoir, Luc Tuymans \u0026amp; Ronald Van de Sompel (Curator M HKA).\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Cyril Jarton, Wim Peeters, Hans Rudolf Reust, Vincent Geyskens, Narcisse Tordoir \u0026amp; Luc Tuymans.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eVerkrijgbaar in de M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEditors : Narcisse Tordoir, Luc Tuymans \u0026amp; Ronald Van de Sompel (Curator M HKA).\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Cyril Jarton, Wim Peeters, Hans Rudolf Reust, Vincent Geyskens, Narcisse Tordoir \u0026amp; Luc Tuymans.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eDisponible dans le M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"}]},{"id":4160,"title":"Het Gesprek [The Conversation]","dimensions":"50 x 63 cm","date_begin":"1995-01-01","material":"Paper Hahnemühle 200 gr.","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSilkscreen on Hahnem\u0026uuml;hle 200 gr paper Ed. Middelheim Promotors, Antwerp Atelier Roger Vandaele, Antwerp 150 exemplaren\u003c/p\u003e\r\n","date_end":null,"reference":"S0286","stream_count_app":20,"permalink":"het-gesprek-the-conversation","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":"Luc Tuymans","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/000/017/599/large/Tuymans__editie7.jpg?1370256080","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThese bodies\u0026nbsp;have been reduced to a pair of shadowy silhouettes, joined together in a continuous form. While their features \u0026ndash; along with other details, such as the position of a hand or a hint of a tie \u0026ndash; are faintly visible beneath a wash of dark colour, the possible meaning of their congres scan only be guessed at based on their amplified body language. On the left, a curved spine and an outstretched hand, on the right, a rigid, formal bearing. With both content and context blocked out, Tuymans presents the bare envelope of social relations: a placeholder for communication. The original piece consisted of a collage affixed to the inside of a book cover that served as the basis for a later painting of the same motif.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eTwee lichamen werden hier door Luc Tuymans gereduceerd tot een duo van schaduwachtige silhouetten, samengevoegd in een flu\u0026iuml;de vorm. Terwijl hun lichaamsdelen\u0026nbsp;- samen met andere details, zoals de positie van een hand of een hint van een stropdas, vaag zichtbaar zijn onder een donkere kleur, kan de mogelijke betekenis\u0026nbsp;alleen worden geraden op basis van hun versterkte lichaamstaal.\u0026nbsp;Links een gebogen ruggengraat en een uitgestoken hand, rechts een rigide, formele houding. Met zowel inhoud als context geblokkeerd, presenteert Tuymans de naakte enveloppe van sociale relaties: een tijdelijke aanduiding voor communicatie. Het originele stuk\u0026nbsp; bestond uit een collage aan de binnenkant van een boekomslag die diende als basis voor een later schilderij met hetzelfde motief.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":21307,"title":"Prague, Refribell, Harbours, Waterloo, Nautilus","dimensions":"21 x 29,5 cm","date_begin":"1981-01-01","material":"gelatin silver prints, Super-8 film","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community","cached_tag_list":"Luc Tuymans","publishing_process_id":1,"annotation":"","date_end":"1982-01-01","reference":"","stream_count_app":19,"permalink":"prague-refribell-harbours-waterloo-nautilus","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/000/045/597/medium_500/Amberes_photo_M_HKA_cc_2019_cc__11.jpg?1559816529","cached_actor_names":"Luc Tuymans","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/000/045/597/large/Amberes_photo_M_HKA_cc_2019_cc__11.jpg?1559816529","poster_credits":"Collection M HKA, Antwerp / Collection Flemish Community, image: © M HKA","translations":[{"locale":"en","description":"\u003cp\u003eAlthough known primarily for his paintings, Luc Tuymans has also experimented with video and photography. \u003cem\u003ePrague\u003c/em\u003e\u003cem\u003e, \u003c/em\u003e\u003cem\u003eRefribell\u003c/em\u003e\u003cem\u003e, \u003c/em\u003e\u003cem\u003eHarbours\u003c/em\u003e\u003cem\u003e, \u003c/em\u003e\u003cem\u003eWaterloo\u003c/em\u003e and \u003cem\u003eNautilus\u003c/em\u003e are a series of eighteen print editions made from three films shot by Tuymans in 1981 and 1982 using a Super-8 camera. \u003cem\u003ePrague\u003c/em\u003e comprises four stills of a water-damaged woman\u0026rsquo;s portrait found by Tuymans on a tombstone in a Prague graveyard. \u003cem\u003eRefribell\u003c/em\u003e depicts some buildings in the port of Antwerp that have since been torn down, specifically, the immense depot with cold storage rooms of Belgian refrigeration company Refribell. \u003cem\u003eHarbours\u003c/em\u003e depict the bow of a ship and a full moon referring to a sense of collective memory of ports. \u003cem\u003eWaterloo\u003c/em\u003e has faint images of older men. Whilst \u003cem\u003eNautilius\u003c/em\u003e shows photographs from the kitchen interior of the eponymous harbour restaurant. The pictures and titles of these various photo series function like allegories for our memories: some parts of the photo are sharp and luminous, whilst others are dim and faint.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHoewel hij vooral bekend is voor zijn schilderijen, heeft Luc Tuymans ook ge\u0026euml;xperimenteerd met video en fotografie. \u003cem\u003ePrague, Refribell, Harbours, Waterloo \u003c/em\u003een \u003cem\u003eNautilus \u003c/em\u003ezijn een serie van achttien print edities van drie films die door Tuymans in 1981 en 1982 zijn gemaakt met een Super-8 camera. \u003cem\u003ePrague\u003c/em\u003e bestaat uit vier stills van een door water beschadigd portret van een vrouw, gevonden door Tuymans op een grafsteen op een kerkhof in Praag. \u003cem\u003eRefribell \u003c/em\u003etoont enkele gebouwen in de haven van Antwerpen die intussen zijn afgebroken, met name het immense depot met koude opslagruimten van het Belgische koelbedrijf Refribell. \u003cem\u003eHarbours\u003c/em\u003e toont de boeg van een schip en een volle maan en verwijst naar een gevoel van collectieve herinnering aan havens. \u003cem\u003eWaterloo\u003c/em\u003e toont vage beelden van oudere mannen, terwijl \u003cem\u003eNautilius\u003c/em\u003e foto\u0026#39;s voorstelt van het keukeninterieur van het gelijknamige havenrestaurant. De foto\u0026#39;s en titels van deze verschillende fotoreeksen functioneren als allegorie\u0026euml;n voor onze herinneringen: sommige delen van de foto zijn scherp en licht, andere daarentegen zijn donker en vaag.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eBien qu\u0026rsquo;il soit surtout c\u0026eacute;l\u0026egrave;bre pour ses tableaux, Luc Tuymans a \u0026eacute;galement exp\u0026eacute;riment\u0026eacute; la vid\u0026eacute;o et la photographie. \u003cem\u003ePrague, Refribell, Harbours, Waterloo\u003c/em\u003e et\u003cem\u003e Nautilus\u003c/em\u003e constituent une s\u0026eacute;rie de 18\u0026nbsp;tirages r\u0026eacute;alis\u0026eacute;s \u0026agrave; partir de trois films tourn\u0026eacute;s par Tuymans en 1981 et 1982 avec une cam\u0026eacute;ra\u0026nbsp;Super-8. \u003cem\u003ePrague\u003c/em\u003e comporte quatre images d\u0026rsquo;un portrait de femme sur une pierre tombale dans un cimeti\u0026egrave;re de Prague. Tuymans a film\u0026eacute; ce portrait qui a visiblement subi des d\u0026eacute;g\u0026acirc;ts d\u0026rsquo;eau. \u003cem\u003eRefribell\u003c/em\u003e repr\u0026eacute;sente quelques b\u0026acirc;timents dans le port d\u0026rsquo;Anvers, d\u0026eacute;molis depuis, et plus sp\u0026eacute;cifiquement l\u0026rsquo;immense d\u0026eacute;p\u0026ocirc;t aux chambres froides de la compagnie belge de r\u0026eacute;frig\u0026eacute;ration Refribell. \u003cem\u003eHarbours\u003c/em\u003e, qui montre la proue d\u0026rsquo;un bateau et une pleine lune, fait r\u0026eacute;f\u0026eacute;rence \u0026agrave; une sensation de m\u0026eacute;moire collective de ports. \u003cem\u003eWaterloo\u003c/em\u003e r\u0026eacute;unit des images floues d\u0026rsquo;hommes \u0026acirc;g\u0026eacute;s. \u003cem\u003eNautilius\u003c/em\u003e rassemble des photographies de la cuisine de l\u0026rsquo;ancien restaurant de ce nom dans le port d\u0026rsquo;Anvers. Les images et les titres de ces diverses s\u0026eacute;ries de photos constituent des all\u0026eacute;gories de notre m\u0026eacute;moire\u0026nbsp;: certaines parties des photos sont nettes et lumineuses, alors que d\u0026rsquo;autres sont sombres et floues.\u003c/p\u003e\r\n"}]},{"id":4170,"title":"Hotelkamer [Hotel Room]","dimensions":"50 x 60 cm","date_begin":"1986-01-01","material":"oil, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":141,"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":"BK005778","stream_count_app":59,"permalink":"hotelkamer-hotel-room","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eIn \u003cem\u003eHotelkamer \u003c/em\u003e(dt. Hotelzimmer) k\u0026ouml;nnen die Zuschauer sich ein fl\u0026uuml;chtiges Interieur von einem Zimmer anschauen. Wir sehen eine kleine Nachtlampe, einen Teil des Bettes, ein offenstehendes Fenster, und einen Vorhang in beigen, hellbraunen, und grauen T\u0026ouml;nen. Diese stark durchgetriebene Vereinfachung kommt zur\u0026uuml;ck in allen Werken von Luc Tuymans. Auf die Leinw\u0026auml;nde wird Acrylfarbe mit gro\u0026beta;en Pinselstrichen aufgetragen. Die Vollendung bleibt minimal, damit man eher den Eindruck bekommt von einer fl\u0026uuml;chtigen Skizze. Das Werk zeugt von einer desolate Atmosph\u0026auml;re, die extra betont wird durch die ged\u0026auml;mpften, verblassten Farben. Diese Farbwahl ist bei Tuymans sehr bewusst und wird von ihm selbst in Verbindung gebracht mit sowohl die kollektive, als auch die individuelle Erinnerung, die als einen roten Faden durch sein Gesamtwerk l\u0026auml;uft: \u0026ldquo;Meine Farbewahl ist entstanden aus der Erkenntnis, dass ein Ton st\u0026auml;rker ist als eine Farbe. \u003cem\u003eWenn man eine Idee von Farbe zeigt, wenn man sie vermengt mit viel Weiss, erh\u0026ouml;ht man die Intensit\u0026auml;t der Farbe. Wenn man ein Werk kreieren m\u0026ouml;chte, das in seiner Intensit\u0026auml;t im Ged\u0026auml;chtnis h\u0026auml;ngen bleibt, dann soll man meiner Meinung nach an Farbe auf einer indirekten Weise herankommen.\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/656/medium_500/Tuymans__Luc__Hotelkamer__1986.jpg?1343382049","cached_actor_names":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/656/large/Tuymans__Luc__Hotelkamer__1986.jpg?1343382049","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eIn \u003cem\u003eHotel Room\u003c/em\u003e the viewer is treated to a room\u0026rsquo;s fleeting interior. We see a night-lamp, a part of the bed, an open window and a curtain in shades of beige, light brown and grey. This strong simplification is recurrent in all of Tuymans\u0026rsquo; works. The acrylic paint is applied in large smears. The finishing remains minimal, so the impression is rather that of a cursory sketch. The work bears witness to a desolate atmosphere, underlined by the dampened, bleached-out colours. The choice of colour is deliberate, and for Tuymans relates to both collective and individual memory, something that runs as a common theme through his oeuvre: \u003cem\u003e\u0026ldquo;My colour-palette comes from the understanding that a colour-tone is more powerful than a color. Rendering colour, mixing it with a lot of white, amplifies the colour\u0026rsquo;s intensity. If you want to make work that stays in the mind by grace of its intensity, then for me you have to approach colour in an indirect way.\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eIn \u003cem\u003eHotelkamer\u003c/em\u003e\u0026nbsp;wordt de toeschouwer getrakteerd op een vluchtig interieur van een kamer. We zien een nachtlampje, een deel van het bed, een openstaand raam en een gordijn in beige, lichtbruine en grijzige tinten. Deze sterk doorgedreven vereenvoudiging zien we in alle werken van Luc Tuymans terugkomen. Op de doeken wordt acrylverf met grote vegen aangebracht. De afwerking blijft miniem, waardoor men eerder de indruk krijgt van een vluchtige schets. Het werk getuigt van een desolate sfeer, die wordt versterkt door de gedempte, verbleekte kleuren. Deze kleurkeuze is bij Tuymans zeer bewust en wordt door hemzelf in verband gebracht met zowel de collectieve als individuele herinnering, die als een rode draad door zijn werk loopt: \u003cem\u003e\u0026ldquo;Mijn kleurgebruik is ontstaan vanuit het besef dat een toon krachtiger is dan een kleur. Door een idee van kleur te geven, door haar te vermengen met veel wit, verhoog je de intensiteit van de kleur. Als je werk wilt maken dat door zijn intensiteit in het geheugen blijft hangen, dan dien je volgens mij kleur op een indirecte wijze te benaderen.\u0026rdquo;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003eLe tableau \u003cem\u003eHotelkamer \u003c/em\u003e[Chambre d\u0026rsquo;h\u0026ocirc;tel] invite le spectateur dans l\u0026rsquo;int\u0026eacute;rieur d\u0026rsquo;une chambre repr\u0026eacute;sent\u0026eacute;e de mani\u0026egrave;re fugace, o\u0026ugrave; l\u0026rsquo;on aper\u0026ccedil;oit une lampe de chevet, une partie du lit, une fen\u0026ecirc;tre entrouverte et un rideau, le tout peint dans des nuances de beige, de brun clair, et de gris. Cette simplification \u0026agrave; l\u0026rsquo;extr\u0026ecirc;me est r\u0026eacute;currente dans l\u0026rsquo;\u0026oelig;uvre de Luc Tuymans. Il applique la peinture acrylique \u0026agrave; grands coups de pinceau sur ses toiles et r\u0026eacute;duit la finition au minimum, donnant ainsi l\u0026rsquo;impression d\u0026rsquo;une esquisse rapide. L\u0026rsquo;\u0026oelig;uvre baigne dans une atmosph\u0026egrave;re de d\u0026eacute;solation, ce qu\u0026rsquo;accentuent les couleurs ternes et d\u0026eacute;lav\u0026eacute;es. Chez Tuymans, ce choix de couleur est parfaitement d\u0026eacute;lib\u0026eacute;r\u0026eacute; et l\u0026rsquo;artiste l\u0026rsquo;associe \u0026agrave; la m\u0026eacute;moire, aussi bien individuelle que collective \u0026ndash; un sujet qui parcourt son \u0026oelig;uvre comme un fil rouge\u0026nbsp;: \u0026laquo;\u0026nbsp;Ma palette est n\u0026eacute;e de la prise de conscience qu\u0026rsquo;un ton est plus puissant qu\u0026rsquo;une couleur. En donnant une id\u0026eacute;e de couleur, en la m\u0026eacute;langeant avec beaucoup de blanc, on en rehausse l\u0026rsquo;intensit\u0026eacute;. Si l\u0026rsquo;on veut cr\u0026eacute;er une \u0026oelig;uvre marquante par son intensit\u0026eacute;, il faut aborder la couleur de fa\u0026ccedil;on indirecte selon moi.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n"}]},{"id":4143,"title":"Le Verdict","dimensions":"variable dimensions","date_begin":"1995-01-01","material":"wallpaper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eseries of 11 lithographs on 7 sheets of wallpaper. Sheet 1 with 3 lithographs; Sheet 2 with 2 lithographs; sheets 4 to 7 with each 1 lithograph\u003c/p\u003e\r\n","date_end":null,"reference":"BK7327_M251","stream_count_app":37,"permalink":"le-verdict","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/628/large/Tuymans__Luc__Le_verdict_14.jpg?1343374176","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThe images in *Le Verdict* are inspired by pictures showing colloquia and meetings found in the mythologised villa of the Centre d\u0026rsquo;\u0026Eacute;dition Contemporaine in Geneva, for which the work was originally commissioned. Printed on wallpaper and glued directly onto the wall, *Le Verdict* combines historical subject matter with simple images of innocuous details and situations to create an ambiguous narrative where the everyday blends with traces of the past.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe afbeeldingen in *Le Verdict* (Het Verdict) zijn ge\u0026iuml;nspireerd op foto\u0026rsquo;s van colloquia en bijeenkomsten in de mythische villa van het Centre d\u0026rsquo;\u0026Eacute;dition Contemporaine in Gen\u0026egrave;ve, waarvoor het werk oorspronkelijk werd gemaakt. Gedrukt op behangpapier en rechtstreeks gelijmd op de muur, combineert *Le Verdict* een historisch onderwerp met eenvoudige afbeeldingen van banale details en situaties om een dubbelzinnig narratief te cre\u0026euml;ren waarin het alledaagse zich vermengt met sporen van het verleden.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":4129,"title":"Untitled (Woman) I","dimensions":"44.1 x 34.3 cm","date_begin":"2003-01-01","material":"Paper J. Wathman 1961 HMP","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eColoured monoprint on J.Whatman 1961 HMP paper Ed. Brooke Alexander Editions \u0026amp; David Zwirner Gallery, New York 5 copies signed and Roman numbered\u003c/p\u003e\r\n","date_end":null,"reference":"BK7480_M334","stream_count_app":23,"permalink":"untitled-woman-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":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/634/medium_500/Tuymans_Woman__2003_photo_clinckx.jpg?1343376125","cached_actor_names":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/634/large/Tuymans_Woman__2003_photo_clinckx.jpg?1343376125","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4179,"title":"Refribell (nr.8)","dimensions":"417 x 490 mm","date_begin":"1981-01-01","material":"Photograph, paper","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSeries of 18 filmstills from three black and white super 8mm films.\u003c/p\u003e\r\n","date_end":"1982-01-01","reference":"BK006979-008","stream_count_app":31,"permalink":"refribell-nr-8","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/644/large/Tuymans__Luc__Refribell_nr_8.jpg?1343380129","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eLuc Tuymans is undoubtedly one of the most important\u0026nbsp;painters of his generation. Since the late 1980s, he also starts working with a variety of printing techniques, yet his graphic work often remains overlooked. Tuymans experiments with techniques and supports to transform basic material that has its origin in photos, videos, computer images or polaroids into new images. The basis of these works are super-8 films\u0026nbsp;from the 80s. Tuymans harbours a fundamental distrust of the truth value of images. The dark and disturbing works cast a ghostly\u0026nbsp;light on history.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eLuc Tuymans is ongetwijfeld een van de belangrijkaste schilders van zijn generatie. Hoewel hij sinds het einde van de jaren \u0026lsquo;80 ook aan de slag gaat met uiteenlopende druktechnieken, blijft zijn grafisch oeuvre vaak onderbelicht. Tuymans experimenteert met technieken en dragers om basismateriaal, dat zijn oorsprong vindt in foto\u0026rsquo;s, video\u0026rsquo;s, computerbeelden of polaroids, om te zetten in nieuwe beelden. Aan de basis van deze werken liggen super-8 films uit de jaren \u0026rsquo;80. Tuymans koestert een fundamenteel wantrouwen tegen de waarheidswaarde van beelden. De duistere en verontrustende werken werpen een spookachtig licht op de geschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLuc Tuymans est incontestablement l\u0026rsquo;un des peintres les plus importants de sa g\u0026eacute;n\u0026eacute;ration. Bien qu\u0026rsquo;il produise une \u0026oelig;uvre graphique depuis la fin des ann\u0026eacute;es\u0026nbsp;80, \u0026agrave; l\u0026rsquo;aide de diff\u0026eacute;rentes techniques d\u0026rsquo;impressions, celle-ci demeure souvent trop peu mise en lumi\u0026egrave;re. Tuymans exp\u0026eacute;rimente des techniques et des supports pour transposer son mat\u0026eacute;riau de base, qui tire son origine de photos, de vid\u0026eacute;os, d\u0026rsquo;images num\u0026eacute;riques et de polaro\u0026iuml;ds, en nouvelles images. L\u0026rsquo;inspiration de ces \u0026oelig;uvres pr\u0026eacute;sent\u0026eacute;es ici vient de films\u0026nbsp;super-8 des ann\u0026eacute;es\u0026nbsp;80. Tuymans se m\u0026eacute;fie visc\u0026eacute;ralement de la valeur de v\u0026eacute;rit\u0026eacute; des images. Les \u0026oelig;uvres sombres et inqui\u0026eacute;tantes jettent une lumi\u0026egrave;re fantomatique sur l\u0026rsquo;histoire.\u003c/p\u003e\r\n"}]},{"id":4226,"title":"Niks","dimensions":"90 x 75 cm","date_begin":"2003-01-01","material":"silkscreen; ink on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eSilkscreen in 4 colours. Ed. Kunstverein Hannover. Atelier Roger Vandaele, Antwerp. 30 copies signed and numbered.\u003c/p\u003e\r\n","date_end":null,"reference":"UFO35_01","stream_count_app":14,"permalink":"niks","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/000/013/088/medium_500/Tuymans__Luc__Niks__2003_photo_clinckx.jpg?1351073054","cached_actor_names":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/013/088/large/Tuymans__Luc__Niks__2003_photo_clinckx.jpg?1351073054","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIn the winter of 2002-03, Luc Tuymans presented a series of ten paintings entitled Niks (\u0026#39;nothing\u0026#39; in Dutch) at Zeno X Gallery in Antwerp. The eponymous painting depicts a potted geranium in full bloom, rendered in a somber fog of greys, greens, and faded reds. Enormously popular in Flanders, geraniums are often found on windowsills in particularly prim and proper neighbourhoods. The use of the geranium as a public display of propriety - \u0026#39;more Flemish than Flanders\u0026#39; - evokes in Tuymans a certain disdain, even horror, as evidenced by the irony of the title. \u0026#39;Niks\u0026#39;, however, does not suggest that the subject is trivial or that the painting is simply an exercise in rendering a banal, everyday object on a flat surface. Rather, the title suggests that the isolation an recontextualisation of a specific \u0026#39;nothing\u0026#39; can generate multiple meanings.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIn 2003 the silkscreen print Niks was realised with master printer Roger Vandaele, on a sheet slightly smaller than the original painting. This translation of mediums from canvas to works-on-paper involved a detailed analysis, yielding a result different in tone from the source. For this print Tuymans and Vandaele altered the ghostly palette of the painting, using a darker background an brighter reds and greens, dramatically increasing the overall contrast. This modification in turn changes the sense of light; the flower now seems to stand directly beneath the sun. Remarkably, Vandaele\u0026#39;s printing of this image makes the composition feel even more painterly. The geranium, emptied of significance by its casual, serial use as a symbol of social security, is linked back into a network of meaning inherent in the long and important tradition of floral still-life painting in the Netherlands.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e(Source: Manfred Sellink, Tommy Simoens -\u003cem\u003e\u0026nbsp;\u0026#39;Luc Tuymans - Graphic\u0026nbsp;Works\u0026nbsp;1989 - 2012\u0026#39;\u003c/em\u003e, Ludion, 2012)\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIn de winter van 2002-03 presenteerde Luc Tuymans onder de titel Niks een tiental nieuwe werken in de Antwerpse galerie Zeno X. Het schilderij waaraan de tentoonstelling haar naam ontleende, stelt een bloeiende potgeranium voor, geschilderd in een sombere mist van grijzen, groenen en vale roden. Geraniums zijn immens populair in Vlaanderen. Je ziet ze overal op vensterbanken in keurige buurten in dorpen en steden. De ironische titel Niks drukt een zekere minachting, ja zelfs een afkeer uit. Dat is wat de kunstenaar voelt tegenover deze kleinburgerlijke plant, die volgens zijn eigen zeggen \u0026#39;Vlaamser dan Vlaams\u0026#39; is. \u0026#39;Niks\u0026#39; beduidt echter ook dat het onderwerp niet belangrijk is, dat het schilderij louter een poging is om met verf een willekeurig banaal voorwerp uit de dagelijkse omgeving weer te geven op het platte vlak. De dubbele bodem is dat Tuymans als geen ander beseft dat door dit \u0026#39;niks\u0026#39; in een kunstwerk te isoleren en het in een nieuwe context te plaatsen \u0026#39;iets\u0026#39; wordt wat meerdere betekenissen oproept.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eIn 2003 maakte Tuymans in samenwerking met meester-drukker Roger Vandaele de zeefdruk Niks op een blad van iets kleiner formaat dan het oorspronkelijke doek.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eDe vertaling van olieverfschilderij naar werk op papier ging gepaard met een zorgvuldige kleuranalyse en resulteerde in een iets andere tonaliteit. In plaats van het versluierde palet van het schilderij introduceerden Tuymans en Vandaele in de prent een donkerder achtergrond en fellere roden en groenen, wat leidde tot een dramatische versterking van de contrasten.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eHierdoor verandert ook het lichteffect: op de zeefdruk lijkt de plant pal in het zonlicht te staan. Opmerkelijk genoeg ziet de grafische versie van Vandaele er \u0026#39;schilderachtiger\u0026#39; uit dan het schilderij zelf. De geranium, betekenisloos geworden door deze presentatie als een banaal serieel geproduceerd symbool van sociale geborgenheid, krijgt een plek in de lange en belangrijke traditie van met betekenis beladen bloemstillevens in de Nederlandse schilderkunst.\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e(bron: Manfred Sellink, Tommy Simoens -\u003cem\u003e\u0026nbsp;\u0026#39;Luc Tuymans - Grafische Werken 1989 - 2012\u0026#39;\u003c/em\u003e, Ludion, 2012)\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":9565,"title":"The Valley ","dimensions":"71 x 72.5 cm ","date_begin":"2012-01-01","material":"screenprint on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Tuymans Graphic Matter","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7809_M513  ","stream_count_app":16,"permalink":"the-valley","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":"Luc Tuymans","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/000/020/726/large/valley.png?1392642819","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eAquisition on behalf of the Flemish Comunity. Screenprint in 7 colours on BKF Rives 300g/m\u0026sup2; paper. Published by Graphic Matter, Antwerp. Printed by Roger Vandaele at Tubbax, Antwerp. Signed in pencil on reverse lower right. Edition of 75 signed and numbered in Arabic numerals. 10 AP.\u003c/p\u003e\r\n\r\n\u003cp\u003eThis screenprint is part of a series on the power of the jesuits: \u003cem\u003eLes Revenants\u003c/em\u003e. This ambiguous portrait of a young boy is based on a still from the film \u003cem\u003e\u0026quot;The Village of the Damned\u0026quot;\u003c/em\u003e (an American sciencefiction/horror movie about children that are evil).\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4118,"title":"Ijzertoren [Yser Tower]","dimensions":"115.5 x 75.5 cm","date_begin":"1995-01-01","material":"oil, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":182,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eTranslated title: Yzer-Tower\u003c/p\u003e","date_end":null,"reference":"BK006871","stream_count_app":36,"permalink":"ijzertoren-yser-tower","description_ru":"","description_de":"\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003eIjzertoren\u003c/i\u003e (dt. Yserturm) ist ein Teil der Heimatserie 1995, in dem Tuymans auch das \u003ci\u003eVlaamse dorp\u003c/i\u003e (dt. Flämisches Dorf) darstellt, die Symbole par exellence von dem einst so idyllischen flämischen Nationalismus. Die Verwendung von fahlen Farben und die Drohung, die vom Bild ausgeht, anstatt der Frieden, geben aber die Transformation von den nationalistischen Symbolen in der rechtsextremen Ideologie wieder. Für Tuymans sind es dann auch nur hohle, leere Symbole.\u003c/p\u003e","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/638/large/Tuymans__Luc__Ijzertoren__foto_Jan_Kempenaers.jpg?1343378629","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003eIjzertoren \u003c/i\u003e(Yser Tower) is part of the Heimat-series from 1995, which also includes Tuymans' depiction of a Flemish Village — both quintessential symbols of Flemish nationalism, which at one time had been an idealistic endeavour. However, the pale colour palette and the threat that exudes from the scene instead of tranquillity reflect the transformation of nationalist symbols into extreme-rightist ideology. For Tuymans, these symbols are hollow and empty.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003eIjzertoren\u003c/i\u003e maakt deel uit van de Heimat-serie uit 1995, waarin Tuymans ook het Vlaamse dorp afbeeldt, dé symbolen van het eens zo idealistische Vlaams nationalisme. Het fletse kleurgebruik en de dreiging die in plaats van de vredigheid van het tafereel uitgaat, geven echter de transformatie weer van die nationalistische symbolen in de extreem-rechtse ideologie. Voor Tuymans zijn het dan ook slechts holle, lege symbolen.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003eIjzertoren\u003c/i\u003e\u0026nbsp;entre dans le cadre de la série Heimat de 1995, où Tuymans représente également le \u003ca href=\"http://ensembles.mhka.be/items/4117\"\u003e\u003cu\u003evillage flamand\u003c/u\u003e\u003c/a\u003e\u003cu\u003e,\u003c/u\u003e les symboles par excellence du nationalisme flamand tellement idéaliste à l'époque. L'usage terne des couleurs et la menace qui émane du tableau au lieu de la liberté expriment cependant la transformation de ces symboles nationalistes en idéologie d'extrême droite. Pour Tuymans, ce ne sont que des symboles creux, vides.\u003c/p\u003e"}]},{"id":7348,"title":"Polaroid_0846","dimensions":"8.8 x 11.4 cm ","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2006-01-01","reference":"S0345","stream_count_app":6,"permalink":"polaroid_0846","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/016/840/large/TUY001000003_199.jpg?1367240721","poster_credits":"(c)image: M HKA, Studio Tuymans","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":7347,"title":"Polaroid_0845","dimensions":"8.8 x 11.4 cm","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":"Collection M HKA, 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Tuymans","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":7346,"title":"Polaroid_0844","dimensions":"8.8 x 11.4 cm","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":"Collection M HKA,  Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2006-01-01","reference":"S0345","stream_count_app":6,"permalink":"polaroid_0844","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":"Luc 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Tuymans","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4195,"title":"Polaroids","dimensions":"","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":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e1098 items\u003c/p\u003e","date_end":"2006-01-01","reference":"S0345","stream_count_app":39,"permalink":"polaroids","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":"Luc Tuymans","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/011/673/large/TUY001000001_001.jpg?1343390299","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIn 2006 Luc Tuymans donated an important part of his oeuvre, namely the \u003ci\u003ePolaroids\u003c/i\u003e\u0026nbsp;to the M HKA. This ensemble – around 1060 polaroids in total – is now in the public domain and the M HKA is charged with its management. Tuymans makes consistent use of polaroids in his investigations of ‘the image’. He likes the overexposure inherent to the polaroid medium. Furthermore, these are an essential component of his method of painting production. Liesbeth Decan, in an article for the \u003ci\u003eFotomuseum Magazine\u003c/i\u003e, has already commented on the pictorial quality of the polaroid and the manner that Tuymans makes use of it. The M HKA has digitalized the hundreds of polaroids and is working further on the series’ documentation. The aim is to investigate their connection with the paintings, in collaboration with Luc Tuymans, Zeno X Gallery, the gallery of Luc Tuymans and Studio Luc Tuymans.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eLuc Tuymans schonk in 2006 een belangrijk deel van zijn oeuvre, nl. de \u003ci\u003ePolaroids\u003c/i\u003e\u0026nbsp;aan het M HKA. Dit ensemble - zo'n 1060 polaroids in totaal - zijn nu publiek domein en het M HKA staat in voor het beheer hiervan. Tuymans gebruikt het medium 'polaroid' consistent in zijn beeldonderzoek. Niet alleen houdt hij van het medium, van de overbelichting die eigen is aan de polaroid. Bovendien vormen ze een essentieel onderdeel binnen het ontstaansproces van zijn schilderijen. Eerder wees Liesbeth Decan in haar artikel in het \u003ci\u003eFotomuseum Magazine\u003c/i\u003e\u0026nbsp;al op de picturale kwaliteit van de polaroid en de manier waarop Tuymans deze gebruikt. Het M HKA heeft de honderden polaroids gedigitaliseerd en werkt verder aan de beschrijving en ontsluiting. Het zal hun verband met de schilderijen onderzoeken, in samenwerking met Luc Tuymans, Zeno X Gallery, de galerij van Luc Tuymans en Studio Luc Tuymans.\u003c/p\u003e"},{"locale":"fr","description":""}]}]