[{"id":491,"title":"Untitled","dimensions":"225 x 150 cm","date_begin":"2011-01-01","material":"graphite, paper","short_description":"a drawing for Bernd...graphite and a little paint...the rest of the paper rolled out and leave the footprints to signify ... different cracks and pieces...","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"untitled--121","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/000/000/891/large/M_HKA_HOMAGE_BERNDLOHAUS_LRes-33.jpg?1303476219","poster_credits":"© Bram Goots","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5471,"title":"Produktiestaat [Production State]","dimensions":"variable dimensions","date_begin":"1988-01-01","material":"plaster board, wood cubes","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK006022","stream_count_app":35,"permalink":"produktiestaat-production-state","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":"Philippe Van Snick","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/000/010/929/large/productiestaat.jpg?1465916373","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003ePhilippe Van Snick\u0026rsquo;s work is characterised by its pared-down form, closely related to Minimalism and the repeated use of the same colours. This installation consists of two wooden cubes and 120 plaster boards. One of the cubes is painted black, the other light blue. With these colours Van Snick is referencing the contrast between night and day, a theme that forms a significant constant in his oeuvre. On each cube ten plaster boards are resting. The number ten is also a recurrent feature in Van Snicks\u0026rsquo;s work, as seen, for instance, in his ten standard colours. The other plaster boards are arranged to form a construction reminiscent of a domino game or a labyrinth. These plaster boards create a rhythmical, dynamic but somewhat chaotic whole, in contrast to the heavy, clumsy and regulated cubes. In his works Van Snick wants to demonstrate the anarchy that is everywhere, but also the possibilities to organise it. The bipolar, here expressed in the opposition between darkness and light, is an important feature in his whole oeuvre. The simplified visual language is also typical of him, although he never fully enters into the mainstream of Minimalism but allows for the unpredictability of his viewers\u0026rsquo; response, which also gives his work a meaningful openness and vulnerability.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet werk van Philippe Van Snick wordt gekenmerkt door een uiterst eenvoudige, aan het minimalisme verwante vormentaal en het herhaaldelijk gebruik van steeds dezelfde kleuren. Deze installatie bestaat uit twee houten kubussen en honderdtwintig gipsplaten. E\u0026eacute;n kubus is zwart gekleurd, de andere lichtblauw. Met deze kleuren verwijst Van Snick respectievelijk naar de nacht en de dag. Dit thema van dag en nacht vormt een belangrijke constante in het oeuvre van de kunstenaar. Op de kubussen liggen telkens tien witte gipsplaten. Het is geen toeval dat het telkens om tien platen gaat: het cijfer tien komt regelmatig voor bij Van Snick. Zo werkt hij bijvoorbeeld ook met tien vaste kleuren. De overige platen zijn rechtop gezet in een constructie die het midden houdt tussen een domino en een doolhof. Het volume met de gipsplaten heeft iets heel ritmisch en dynamisch. Dit contrasteert met de zware, logge kubussen. Het geheel heeft zowel iets van chaos als van orde. Van Snick wil met zijn werk wijzen op een anarchie die overal herkenbaar is en tegelijk op de mogelijkheden om die anarchie te ordenen. Dit bipolaire, dat we in dit werk ook terugvinden in het thema dag/nacht, maakt een belangrijk onderdeel uit van het oeuvre van de kunstenaar in het algemeen. Ook de zeer eenvoudige beeldtaal is typerend voor het werk van Van Snick. Zijn werk behoort echter zeker niet tot de minimalistische strekking: het laat een ruime interpretatie van de toeschouwer toe en getuigt bovendien van veel gevoel en kwetsbaarheid.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14325,"title":"Tennis","dimensions":"18 x 24 cm (49 x 61 (framed))","date_begin":"1973-01-01","material":"4 zwart-wit foto's op glanzend barietpapier met lijntekening in alcoholstift","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Philippe Van Snick \u0026 Tatjana Pieters","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"tennis","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/923/large/1_10.jpg?1475241416","poster_credits":"image: (c) M HKA, Courtesy Philippe Van Snick \u0026 Tatjana Pieters","translations":[{"locale":"en","description":"\u003cp\u003eLike many conceptual artists in the 1970s, Philippe Van Snick concerns himself with concepts of place and time. This is demonstrated, among others, in the works in which he indicates \u0026ldquo;directions\u0026rdquo;: directions of hikers, planes or even tennis balls. \u003cem\u003eTennis\u003c/em\u003e is made up of four photos of television screens airing a tennis match. On three of those photos Van Snick connected two opposing players by means of a line made in permanent marker. By doing so he emphasises the momentum of the game, which evolves in time. The work functions autonomously, but also corresponds to other photo series, such as \u003cem\u003eRichtingen\u003c/em\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eZoals veel conceptuele kunstenaars in de jaren 1970 houdt Philippe Van Snick zich bezig met concepten van plaats en tijd. Dit uit zich onder meer in werken waarin hij \u0026ldquo;richtingen\u0026rdquo; weergeeft: richtingen van wandelaars, vliegtuigen, of ook tennisballen. \u003cem\u003eTennis \u003c/em\u003ebestaat uit vier foto\u0026rsquo;s van televisieschermen waarop een tenniswedstrijd wordt uitgezonden. Op drie van die foto\u0026rsquo;s verbond Van Snick twee tegenover elkaar staande spelers door middel van een lijn in alcoholstift. Daarmee legt hij de nadruk op de dynamiek van het spel, dat evolueert in de tijd. Het werk functioneert autonoom, maar correspondeert ook met andere fotoreeksen, zoals \u003cem\u003eRichtingen\u003c/em\u003e.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":14323,"title":"Lavabo","dimensions":"18 x 24 cm (30 x 323 cm (framed))","date_begin":"1975-01-01","material":"12 zwart-wit foto's op hoogglanzend barietpapier","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Philippe Van Snick \u0026 Tatjana Pieters","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e12 zwart wit foto\u0026#39;s, elk 18 x 24 cm, ingekaderd: 30 x 323 cm\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":16,"permalink":"lavabo","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/925/large/1_11.jpg?1475241662","poster_credits":"image: (c) M HKA, Courtesy Philippe Van Snick \u0026 Tatjana Pieters","translations":[{"locale":"en","description":"\u003cp\u003ePhilippe Van Snick is fascinated by numbers and binary logic. In several works he explores the changing relationships between dots. That way, he arrives at a geometric artistic language.\u003c/p\u003e\r\n\r\n\u003cp\u003eFor the work \u003cem\u003eLavabo\u003c/em\u003e (sink) Van Snick uses his ten-dot system. He drips ink drops into a water-filled sink.\u003c/p\u003e\r\n\r\n\u003cp\u003eHere, Van Snick explores the scientific concept of entropy, i.e. a measure for the disorder or degeneration in a system. The ink droplets expand into the otherwise still water.\u003c/p\u003e\r\n\r\n\u003cp\u003eEntropy is also linked to the passage of time and the experience thereof. Van Snick seeks to summarise this in his series. The viewer is thus invited to experience the event\u0026#39;s process itself.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003ePhilippe Van Snick is gefascineerd door getallen en de binaire logica. In meerdere werken onderzoekt hij de veranderende relaties tussen stippen. Zo komt hij tot een geometrische artistieke taal.\u003c/p\u003e\r\n\r\n\u003cp\u003eVoor het werk \u003cem\u003eLavabo\u003c/em\u003e gebruikt Van Snick zijn tien-stippen systeem. Hij laat druppels met inkt vallen in een lavabo gevuld met water.\u003c/p\u003e\r\n\r\n\u003cp\u003eVan Snick verkent hier het wetenschappelijk idee van entropie, ofwel een maat voor de\u0026nbsp;wanorde\u0026nbsp;of de\u0026nbsp;ontaarding\u0026nbsp;in een\u0026nbsp;systeem. De inktdruppels dijen uit in het anders stille water.\u003c/p\u003e\r\n\r\n\u003cp\u003eEntropie wordt ook verbonden aan het verstrijken van de tijd en de ervaring hiervan. Dit tracht Van Snick te vatten in zijn series. Zo wordt de kijker uitgenodigd om het proces van de gebeurtenis zelf te ervaren.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003ePhilippe Van Snick est fascin\u0026eacute; par les nombres et la logique binaire. Dans diff\u0026eacute;rentes \u0026oelig;uvres, il examine les relations changeantes entre les points. Il parvient de la sorte \u0026agrave; un langage artistique g\u0026eacute;om\u0026eacute;trique.\u003c/p\u003e\r\n\r\n\u003cp\u003ePour l\u0026rsquo;\u0026oelig;uvre \u003cem\u003eLavabo\u003c/em\u003e, Van Snick utilise son syst\u0026egrave;me de dix pointill\u0026eacute;s. Il laisse tomber des gouttes d\u0026rsquo;encre dans un lavabo rempli d\u0026rsquo;eau.\u003c/p\u003e\r\n\r\n\u003cp\u003eVan Snick explore ici l\u0026rsquo;id\u0026eacute;e scientifique d\u0026rsquo;entropie, soit une mesure du chaos ou de la d\u0026eacute;g\u0026eacute;n\u0026eacute;rescence dans un syst\u0026egrave;me. Les gouttes d\u0026rsquo;encre se dilatent diff\u0026eacute;remment dans l\u0026rsquo;eau stagnante.\u003c/p\u003e\r\n\r\n\u003cp\u003eL\u0026rsquo;entropie est aussi li\u0026eacute;e \u0026agrave; l\u0026rsquo;\u0026eacute;coulement du temps et \u0026agrave; cette exp\u0026eacute;rience. C\u0026rsquo;est ce que Van Snick tente de capturer dans ses s\u0026eacute;ries. Ainsi, le spectateur est invit\u0026eacute; \u0026agrave; exp\u0026eacute;rimenter lui-m\u0026ecirc;me le processus de l\u0026rsquo;\u0026eacute;v\u0026eacute;nement.\u003c/p\u003e\r\n"}]},{"id":14324,"title":"Richtingen","dimensions":"8 x 24 cm (58 x 42.5 cm (framed))","date_begin":"1974-01-01","material":"4 zwart-wit foto's op glanzend barietpapier","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Philippe Van Snick \u0026 Tatjana Pieters","cached_tag_list":"Philippe Van Snick","publishing_process_id":1,"annotation":"\u003cp\u003e4 zwart-wit foto\u0026#39;s op glanzend barietpapier van de diaserie \u0026lsquo;Richtingen\u0026rsquo;,\u003c/p\u003e\r\n\r\n\u003cp\u003egeprint voor de kunstenaar in 1974 voor de catalogus van Museum of Modern Art Oxford, June 30 - August 4, 1974\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eBron Hilde Van Canneyt:\u0026nbsp;hildevancanneyt.blogspot.be/2013/05/interview-met-philippe-van-snick.html\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":21,"permalink":"richtlijnen-condensatielijnen","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/924/large/1_9.jpg?1475241576","poster_credits":"image: (c) M HKA, Courtesy Philippe Van Snick \u0026 Tatjana Pieters","translations":[{"locale":"en","description":"\u003cp\u003e\u0026quot;I\u0026#39;m not a photographer taking pictures with expression \u0026ndash; in an expressionistic sense. On the one hand\u0026nbsp;it was about the structures that I saw and that I then drew or composed. These structures I wanted to show through photography or to check them out against reality through photography. I used the camera rather as a kind of laboratory.\u003c/p\u003e\r\n\r\n\u003cp\u003eOn the other hand, [it was] about creating signs, and to check out those signs against reality through photography. Showing (a picture of) those signs. To record that, you take a photograph of that thing.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003eHilde Van Canneyt,\u003cem\u003e\u0026nbsp;Interview met Philippe Van Snick\u003c/em\u003e, 2013\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026quot;Ik ben niet een fotograaf die beelden maakt met expressie \u0026ndash; in expressionistische zin. Het ging enerzijds \u0026ndash; waar ik het daarnet ook over had \u0026ndash;\u0026nbsp;over de structuren die ik zag en die ik dan tekende of samenstelde. Die structuren wilde ik in beeld brengen via fotografie of toetsten aan de realiteit via de fotografie. Ik gebruikte het fototoestel eerder als een soort laboratorium.\u003c/p\u003e\r\n\r\n\u003cp\u003eAnderzijds over het maken van tekens en die tekens toetsen aan de realiteit via de fotografie. Die tekens in beeld te brengen. Om dat vast te leggen neem je een foto van dat ding.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cp\u003eHilde Van Canneyt,\u003cem\u003e\u0026nbsp;Interview met Philippe Van Snick\u003c/em\u003e, 2013\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Je ne suis pas un photographe qui cr\u0026eacute;e des images expressives \u0026ndash; au sens expressionniste. Ce dont je parlais pr\u0026eacute;c\u0026eacute;demment traitait d\u0026rsquo;une part de structures que j\u0026rsquo;avais vues et ensuite dessin\u0026eacute;es ou compos\u0026eacute;es. Ces structures, je d\u0026eacute;sirais les repr\u0026eacute;senter ou les mesurer \u0026agrave; la r\u0026eacute;alit\u0026eacute; par le biais de la photographie. J\u0026rsquo;utilisais l\u0026rsquo;appareil photo plut\u0026ocirc;t comme une sorte de laboratoire.\u003c/p\u003e\r\n\r\n\u003cp\u003eD\u0026rsquo;autre part, il \u0026eacute;tait question de la cr\u0026eacute;ation de signes et \u0026eacute;galement de les mesurer \u0026agrave; la r\u0026eacute;alit\u0026eacute; \u0026agrave; travers la photographie. Il s\u0026rsquo;agissait de les mettre en images. Et pour les fixer, on les photographie.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eHilde Van Canneyt,\u003cem\u003e\u0026nbsp;Interview met Philippe Van Snick\u003c/em\u003e, 2013\u003c/p\u003e\r\n"}]},{"id":16020,"title":"Ping-Pong","dimensions":"12 x (18 x 24 cm)","date_begin":"1972-01-01","material":"ink, paper (b/w photographs)","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":"Collectie M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"pin-pong-71e1f86f-9f31-483c-97ab-14612594e99e","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/697/large/Ping_Pong_1972.jpg?1505376991","poster_credits":"(c)image: Philippe Van Snick, 1972 - Courtesy Philippe Van Snick \u0026 Galerie Tatjana Pieters","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16024,"title":"1.5.10","dimensions":"50 x (42 x 29.7 cm)","date_begin":"1979-01-01","material":"gouache on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy Philippe Van Snick \u0026 Galerie Tatjana Pieters","cached_tag_list":"gouache","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"1-5-10","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003e\u0026#39;In this series Philippe Van Snick departs from two intersecting curved lines. The space between the half arcs he fills with (0-9) color. Next, he extrapolates the form to a random decagon, which he dyes in the same colors. There are 5 gouaches for every colors, each one depicting different arcs and decagons.\u0026#39;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e(Source:Liesbeth Decan \u0026amp; Hilde Van Gelder, \u003cem\u003ePhilippe Van Snick - Dynamic Project\u003c/em\u003e, ASA Publishers, 2010)\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u0026#39;In this series Philippe Van Snick departs from two intersecting curved lines. The space between the half arcs he fills with (0-9) color. Next, he extrapolates the form to a random decagon, which he dyes in the same colors. There are 5 gouaches for every colors, each one depicting different arcs and decagons.\u0026#39;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:10px;\"\u003e(Source:Liesbeth Decan \u0026amp; Hilde Van Gelder, \u003cem\u003ePhilippe Van Snick - Dynamic Project\u003c/em\u003e, ASA Publishers, 2010)\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eWhy decagon?\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ea decagon is ten points connected\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003enumbered (0\u0026gt;9) aritmetically I have the possibility of\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eworking into infinity\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ethe point generates waves\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eex. falling stone in water\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ecolors are diff. wavelengths\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eIn the third dimension (object)\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ein orbit, the object (0-9) takes on different forms even the\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003emost unexpected\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e(sic)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:10px;\"\u003ePhilippe Van Snick, 1979\u003c/span\u003e\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":"Philippe Van Snick","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/776/large/Philippe_Van_Snick__photo_M_HKA_cc__41.jpg?1505832773","poster_credits":"(c)image: M HKA - Courtesy the artist \u0026 Tatjana Pieters, Gent","translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003e\u0026#39;In this series Philippe Van Snick departs from two intersecting curved lines. The space between the half arcs he fills with (0-9) color. Next, he extrapolates the form to a random decagon, which he dyes in the same colors. There are 5 gouaches for every colors, each one depicting different arcs and decagons.\u0026#39;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:10px;\"\u003e(Source:Liesbeth Decan \u0026amp; Hilde Van Gelder, \u003cem\u003ePhilippe Van Snick - Dynamic Project\u003c/em\u003e, ASA Publishers, 2010)\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eWhy decagon?\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ea decagon is ten points connected\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003enumbered (0\u0026gt;9) aritmetically I have the possibility of\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eworking into infinity\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ethe point generates waves\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eex. falling stone in water\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ecolors are diff. wavelengths\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eIn the third dimension (object)\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ein orbit, the object (0-9) takes on different forms even the\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003emost unexpected\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e(sic)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:10px;\"\u003ePhilippe Van Snick, 1979\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003e\u0026#39;In this series Philippe Van Snick departs from two intersecting curved lines. The space between the half arcs he fills with (0-9) color. Next, he extrapolates the form to a random decagon, which he dyes in the same colors. There are 5 gouaches for every colors, each one depicting different arcs and decagons.\u0026#39;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:10px;\"\u003e(Source:Liesbeth Decan \u0026amp; Hilde Van Gelder, \u003cem\u003ePhilippe Van Snick - Dynamic Project\u003c/em\u003e, ASA Publishers, 2010)\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eWhy decagon?\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ea decagon is ten points connected\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003enumbered (0\u0026gt;9) aritmetically I have the possibility of\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eworking into infinity\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ethe point generates waves\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eex. falling stone in water\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ecolors are diff. wavelengths\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eIn the third dimension (object)\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ein orbit, the object (0-9) takes on different forms even the\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003emost unexpected\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e(sic)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:10px;\"\u003ePhilippe Van Snick, 1979\u003c/span\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003e\u0026#39;In this series Philippe Van Snick departs from two intersecting curved lines. The space between the half arcs he fills with (0-9) color. Next, he extrapolates the form to a random decagon, which he dyes in the same colors. There are 5 gouaches for every colors, each one depicting different arcs and decagons.\u0026#39;\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:10px;\"\u003e(Source:Liesbeth Decan \u0026amp; Hilde Van Gelder, \u003cem\u003ePhilippe Van Snick - Dynamic Project\u003c/em\u003e, ASA Publishers, 2010)\u003c/span\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eWhy decagon?\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ea decagon is ten points connected\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003enumbered (0\u0026gt;9) aritmetically I have the possibility of\u0026nbsp;\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eworking into infinity\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ethe point generates waves\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eex. falling stone in water\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ecolors are diff. wavelengths\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003eIn the third dimension (object)\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003ein orbit, the object (0-9) takes on different forms even the\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e\u003cem\u003emost unexpected\u003c/em\u003e\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003e(sic)\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cspan style=\"font-size:10px;\"\u003ePhilippe Van Snick, 1979\u003c/span\u003e\u003c/p\u003e\r\n"}]},{"id":16027,"title":"Zonder titel [Untitled]","dimensions":"104 x 115 cm","date_begin":"2017-01-01","material":"canvas, acryl, vinyl","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Philippe Van Snick \u0026 Galerie Tatjana Pieters","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"zonder-titel-untitled-6b3ad8fb-4ada-4f4d-892b-81a04899677e","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/780/large/Philippe_Van_Snick__photo_M_HKA_cc__10.jpg?1505834384","poster_credits":"(c)image: M HKA - Courtesy the artist \u0026 Tatjana Pieters, Gent","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16025,"title":"Pans de Sensation","dimensions":"25 x (59.5 x 41.5 cm)","date_begin":"2005-01-01","material":"ink, paper","short_description":"\u003cp style=\"text-align: justify;\"\u003eWork in situ: Open studio Schaarbeek,\u0026nbsp;Brussel, developed in collaboration with several students of Sint-Lukas Brussels University College of Art and Design, within the framework of the OPK-research project \u003cem\u003eSpace and Time in Minimalist and Abstract Painting. The Case of Philippe Van Snick\u003c/em\u003e, initiated by Prof. Dr. Hilde Van Gelder.\u003c/p\u003e\r\n","art_status_id":48,"legal_status_id":46,"category_id":76,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Courtesy Philippe Van Snick \u0026 Galerie Tatjana Pieters","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2007-01-01","reference":"","stream_count_app":34,"permalink":"pans-de-sensation","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":"Philippe Van Snick","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/778/large/Philippe_Van_Snick__photo_M_HKA_cc__18.jpg?1505833332","poster_credits":"(c)image: M HKA - Courtesy the artist \u0026 Tatjana Pieters, Gent","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003ebron: Hilde Van Gelder en Liesbeth Decan, \u003cem\u003ePhilippe Van Snick - Dynamic Project\u003c/em\u003e, ASA Publishers, 2010.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":16026,"title":"Grand Territorium","dimensions":"130 x 130 x 380 cm","date_begin":"2011-01-01","material":"wood, chalk","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Philippe Van Snick \u0026 Galerie Tatjana Pieters","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"grand-territorium","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003eF\u0026uuml;r die Ausstellung \u003cem\u003ePing Pong\u003c/em\u003e bringt der belgische K\u0026uuml;nstler Philippe Van Snick Werke aus verschiedenen Perioden seines Gesamtwerkes zusammen. Der Titel \u003cem\u003ePing Pong \u003c/em\u003everweist zum einen auf das zentrale Werk \u003cem\u003ePing Pong \u003c/em\u003ein der Ausstellung und zum anderen auf die Dynamik, die dem Gesamtwerk von Van Snick inh\u0026auml;rent ist.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eGrand Territorium\u003c/em\u003e aus dem Jahr 2011 steht f\u0026uuml;r Ortung der Kunst, Asche, Anker in der Zeit und Affirmation der Anwesenheit des K\u0026uuml;nstlers und wurde zuvor in der Gruppenausstellung \u003cem\u003eDedans\u0026ndash;Dehors\u003c/em\u003e im Ch\u0026acirc;teau de \u003cem\u003eLacaze \u003c/em\u003e\u003cem\u003egezeigt.\u003c/em\u003e\u003c/p\u003e\r\n","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/036/033/large/Philippe_Van_Snick__Grand_Territorium__2011__Foto_Philippe_Van_Snick.jpg?1501764701","poster_credits":"(c)image: Philippe Van Snick, Courtesy Philippe Van Snick \u0026 Galerie Tatjana Pieters","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eFor the exhibition \u003cem\u003ePing Pong\u003c/em\u003e, Belgian artist Philippe Van Snick brings together works from different periods in his oeuvre. The title \u003cem\u003ePing Pong\u003c/em\u003e refers, on the one hand, to the central work \u003cem\u003ePing Pong\u003c/em\u003e in the exhibition, on the other hand to the dynamics inherent in Van Snick\u0026#39;s oeuvre.\u0026nbsp; \u0026nbsp;\u0026nbsp;\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eGrand Territorium\u003c/em\u003e from 2011 stands for the situation of art, an axis, an anchor in time and the affirmation of the presence of the artist, and was previously shown in \u0026nbsp;the group exhibition \u003cem\u003eDedans-Dehors\u003c/em\u003e at the Ch\u0026acirc;teau de Lacaze.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eVoor de tentoonstelling \u003cem\u003ePing Pong\u003c/em\u003e brengt de Belgische kunstenaar Philippe Van Snick werken uit verschillende periodes van zijn oeuvre samen. De titel \u003cem\u003ePing Pong \u003c/em\u003everwijst enerzijds naar het centrale werk \u003cem\u003ePing Pong \u003c/em\u003ein de tentoonstelling, anderzijds naar de dynamiek die inherent is aan Van Snicks oeuvre.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eGrand Territorium\u003c/em\u003e uit 2011 staat voor plaatsbepaling van de kunst, as, anker in de tijd en affirmatie van de aanwezigheid van de kunstenaar, en werd eerder getoond in\u0026nbsp; de groepstentoonstelling \u003cem\u003eDedans\u0026ndash;Dehors\u003c/em\u003e in het Ch\u0026acirc;teau de \u003cem\u003eLacaze. \u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003ePour l\u0026rsquo;exposition \u003cem\u003ePing Pong\u003c/em\u003e, l\u0026rsquo;artiste belge Philippe Van Snick r\u0026eacute;unit des \u0026oelig;uvres de diff\u0026eacute;rentes p\u0026eacute;riodes. Le titre \u003cem\u003ePing Pong \u003c/em\u003efait d\u0026rsquo;une part r\u0026eacute;f\u0026eacute;rence \u0026agrave; l\u0026rsquo;\u0026oelig;uvre centrale de l\u0026rsquo;exposition, \u003cem\u003ePing Pong\u003c/em\u003e, et d\u0026rsquo;autre part \u0026agrave; la dynamique inh\u0026eacute;rente \u0026agrave; l\u0026rsquo;\u0026oelig;uvre de Van Snick.\u003c/p\u003e\r\n\r\n\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eGrand Territorium\u003c/em\u003e (2011), qui repr\u0026eacute;sente le positionnement de l\u0026rsquo;art, l\u0026rsquo;axe, le point d\u0026rsquo;ancrage dans le temps et l\u0026rsquo;affirmation de la pr\u0026eacute;sence de l\u0026rsquo;artiste, a \u0026eacute;t\u0026eacute; montr\u0026eacute; pr\u0026eacute;c\u0026eacute;demment dans l\u0026rsquo;exposition de groupe \u003cem\u003eDedans \u0026ndash; Dehors\u003c/em\u003e au Ch\u0026acirc;teau de \u003cem\u003eLacaze. \u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":19939,"title":"Eilanden","dimensions":"","date_begin":"2016-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK007965","stream_count_app":17,"permalink":"eilanden","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/041/509/medium_500/Eilanden_JurgenAddiers.jpg?1535462630","cached_actor_names":"Philippe Van Snick","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/000/041/509/large/Eilanden_JurgenAddiers.jpg?1535462630","poster_credits":"image: (c) Jurgen Addiers, Collectie M HKA, Antwerpen, Collectie Vlaamse Gemeenschap","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eThe work \u003ci\u003eEilanden\u003c/i\u003e (\u003ci\u003eIslands\u003c/i\u003e) consists of ten elegantly shaped organic surfaces in the ten colours characteristic of Van Snick\u0026#39;s oeuvre (primary and secondary colours, the achromatic colours of white and black along with the gold and silver metallics), supplemented by three daytime and night islands in blue and black. The work symbolises a densely populated archipelago of clearly distinct geographical entities. The installation is displayed across the floor, but puzzlingly gives the impression of swallowing the room whole.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003eHet werk \u003ci\u003eEilanden\u003c/i\u003e bestaat uit tien sierlijk gevormde organische oppervlakken in de tien kleuren die kenmerkend zijn voor het hele oeuvre van Philippe Van Snick (de hoofd- en secundaire kleuren, de niet-kleuren wit en zwart en de metaalkleuren goud en zilver), aangevuld met drie dag- en nachteilanden in de kleuren blauw en zwart. Het werk symboliseert een dichtgeschoven archipel van duidelijk onderscheiden geografische entiteiten. De museale installatie wordt getoond op de vloer maar lijkt de gehele ruimte in beslag te nemen.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":20146,"title":"GA - Tijdschrift van de Galerij van de Akademie Van Waasmunster, Jrg.6, nr.1, januari 1987","dimensions":"57.7 x 41.7 cm, 2 p., ill., language : Dutch, publisher : Galerij van de Akademie Van Waasmunster","date_begin":"1987-01-01","material":"Ink, paper","short_description":"\u003cp\u003eArtikelen :\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e-\u0026nbsp;Lieven A.M. Baeyens \u0026#39;Les sons visibles et invisibles\u0026#39; (eenmalige uitvoering van een compositie voor vijf musici, geconcipieerd voor de ruimte van kunstgalerij \u0026#39;GA\u0026#39;\u003c/p\u003e\r\n\r\n\u003cp\u003e-\u0026nbsp;Philippe Van Snick - Dag/Nacht (Philippe Severeyns \u0026amp; Philippe Van Snick)\u003c/p\u003e\r\n\r\n\u003cp\u003eDit nummer bevat een fragment van het werk \u0026#39;3650 dagen en nachten\u0026#39; van Phillipe Van Snick.\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":59,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":" T \u0026 P/GA - Tijdschrift van de Galerij van de Akademie Van Waasmunster","stream_count_app":18,"permalink":"ga-tijdschrift-van-de-galerij-van-de-akademie-van-waasmunster-jrg-6-nr-1-januari-1987","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/043/064/medium_500/Image00020.jpg?1546504916","cached_actor_names":"Wilfried Huet, Philippe Van Snick, Lieven A.M. Baeyens ","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/000/043/064/large/Image00020.jpg?1546504916","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":22840,"title":"(0-9) punten in de ruimte","dimensions":"","date_begin":"1979-01-01","material":"(0-9) dots in space","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"PVS","publishing_process_id":1,"annotation":"\u003cp\u003eCollection Foundation Gordon Matta-Clark\u003c/p\u003e\r\n","date_end":null,"reference":"UFO2021_05","stream_count_app":18,"permalink":"0-9-punten-in-de-ruimte","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/000/070/699/medium_500/2021_04_30_MHKA_-020-9.jpg?1620296820","cached_actor_names":"Philippe Van Snick","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/000/070/699/large/2021_04_30_MHKA_-020-9.jpg?1620296820","poster_credits":"image: (c) We Document Art, Collection M HKA, Antwerp, Foundation Gordon Matta-Clark","translations":[{"locale":"en","description":"\u003cp\u003eIn February 1979, Ph Van Snick offers this work as a gift to the Gordon Matta-Clark Foundation Antwerp.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eThe work comes with the following certificate: Title: (0-9) dots in space; Date: 1979; Material:\u0026nbsp;(0-9) dots in space; Sizes:\u0026nbsp;(0-9) dots in space; Value: Banco; Places, date and signature: Brussels 13 Feb 1979 Van Snick\u003c/p\u003e\r\n\r\n\u003cp\u003eIn a letter, Antwerp, 22nd May 1979, to Dear Mister Van Snick, Flor Bex thanks him for making available an artwork to our association.\u003c/p\u003e\r\n\r\n\u003cp\u003ebron: Liesbeth Decan en Hilde Van Gelder.\u0026nbsp;\u003cem\u003eDynamic Project - Philippe Van Snick\u003c/em\u003e. ASA Publishers, 2010.\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5347,"title":"(0-9) Kleuren en Cijfercode [Colours and Numerical Code]","dimensions":"10 x (100 x 120 cm)","date_begin":"1983-01-01","material":"pigment, multiplex","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":15,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK006895","stream_count_app":52,"permalink":"0-9-kleuren-en-cijfercode-colours-and-numerical-code","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":"Philippe Van Snick","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/000/010/631/large/Snick__Philippe_Van__Kleuren-_en_cijfercode__1983_photo_Syb'l._S._-_Pictures.jpg?1342078284","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eColours and numeric code\u003c/em\u003e\u0026nbsp;by Philippe Van Snick consists of ten painted wooden panels. In each panel only one colour is used: the primary colours red, yellow and blue, the secondary colours orange, green and violet, the non colours white and black and the metallic colours gold and silver. Since 1980 Van Snick has been using these colours systematically. White and black, for example, stand for immaterialism and gold and silver refer to materialism and material wealth, but can also be interpreted as \u0026lsquo;alchemistic\u0026rsquo;, \u0026lsquo;inert\u0026rsquo; or \u0026lsquo;pure\u0026rsquo; metals. In this manner, the colours denote a mental as well as a physical meaning. The panels are not completely covered in paint. \u0026lsquo;Signs\u0026rsquo; have appeared on the places where paint has not been applied. Van Snick also didn\u0026rsquo;t painted the edge of the panels so that a kind of frame appears around the work. \u003cem\u003eColours and numeric code\u003c/em\u003e\u0026nbsp;is typical work of the eighties, which were characterized by a renewed interest in the status of the painting, whereby, among others, the use of colour and material, the painting as an object and the definition of form and frame were discussed. As the \u0026lsquo;signs\u0026rsquo; appear to be randomly divided over the panels, the work issues a certain dynamic. Together with the saturated, bright colours this results in a feast for the eye.\u003c/p\u003e\r\n\r\n\u003cp\u003eText by Ph. Van Snick, dated \u003cem\u003eBrussels \u003c/em\u003e11.2.1996:\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e-Each panel represents 10 different broken lines. Each broken line a number from 1 to 9. The number 0 is in the unpainted edge. 1 is the broken line with one angle. 2 is the broken line with two angles. 3 is the broken line with three angles. In this way up to nine.\u003c/p\u003e\r\n\r\n\u003cp\u003e-All represented numbers are different from one panel to the next. Not a single panel has the same representation. But do they have the same initial formula?\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e-All panels stay together!! forming a single work.\u003c/p\u003e\r\n\r\n\u003cp\u003eBron: Hilde Van Gelder en Liesbeth Decan, \u003cem\u003ePhilippe Van Snick - Dynamic Project\u003c/em\u003e, ASA Publishers, 2010.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eKleuren en cijfercode\u003c/em\u003e\u0026nbsp;van Philippe Van Snick bestaat uit tien beschilderde houten panelen. Per paneel wordt er telkens \u0026eacute;\u0026eacute;n kleur gebruikt. Het zijn de hoofdkleuren rood, geel en blauw, de secundaire kleuren oranje, groen en violet, de niet-kleuren wit en zwart en de metaalkleuren goud en zilver. Van Snick wendt deze kleuren sinds 1980 op systematische wijze aan. Wit en zwart staan bijvoorbeeld voor het immateri\u0026euml;le en goud en zilver refereren aan materialisme en materi\u0026euml;le rijkdom, maar kunnen ook ge\u0026iuml;nterpreteerd worden in hun hoedanigheid van \u0026lsquo;alchemistische\u0026rsquo;, \u0026lsquo;edele\u0026rsquo; of \u0026lsquo;zuivere\u0026rsquo; metalen. De kleuren kunnen dus zowel een psychische als een fysieke betekenis aangeven. De panelen worden niet helemaal bedekt door een verflaag. Op de plaatsen binnen het kleurvlak waar geen verf werd aangebracht, zijn er \u0026lsquo;tekens\u0026rsquo; ontstaan. Van Snick beschilderde de panelen ook niet tot aan de rand, zodat er een soort kader rond het werk lijkt te zitten. \u003cem\u003eKleuren en cijfercode\u003c/em\u003e\u0026nbsp;valt perfect te situeren in de jaren tachtig, die gekenmerkt werden door een vernieuwde aandacht voor de status van het schilderij, waarbij onder meer gediscussieerd werd over het gebruik van kleur en materiaal, het schilderij als object en de defini\u0026euml;ring van vorm en rand. Doordat de \u0026lsquo;tekens\u0026rsquo; schijnbaar op een willekeurige manier over de panelen zijn verdeeld, gaat er van dit werk een bepaalde dynamiek uit. Samen met de verzadigde, felle kleuren resulteert dat in een visueel genot.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":13459,"title":"Dag en Nacht Blokken ","dimensions":"Each 21 x 21 x 9 cm ","date_begin":"1990-01-01","material":"MDF, vinyl and acrylic ","short_description":"\u003cp\u003eThese blocs together form the work Dag en Nacht Blokken. The sides of the left one are blue, which resembles the day, and the other one is black, resembling the night. It\u0026#39;s painted on wood. It\u0026#39;s thick and monolithic, but has an interesting sense of fragility and the element of tenderness.\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection","cached_tag_list":"PVS","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"dag-en-nacht-blokken","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":"Philippe Van Snick","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/000/030/618/large/PhilippeVanSnickDagennachtBlokken1990.jpg?1453892858","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003ebron: Liesbeth Decan en Hilde Van Gelder, \u003cem\u003ePhilippe Van Snick - Dynamic Project\u003c/em\u003e, ASA Publishers, 2010.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDeze blokken samen vormen het werk Dag en Nacht Blokken. De zijkanten van het linkse blok zijn blauw, verwijzend naar de dag, en de andere is zwart, verwijzend naar de nacht. Het is op hout geschilderd. Het is dik en monolithisch, maar heeft een interessante gevoel van fragiliteit, en het element van tederheid.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":16023,"title":"Ping-Pong Revisited","dimensions":"","date_begin":"2017-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":126,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0553_02","stream_count_app":21,"permalink":"ping-pong-revisited-bb7875eb-0936-4fa6-87a6-7b7943f6bc1e","description_ru":"","description_de":"\u003cp style=\"text-align: justify;\"\u003ePhilippe Van Snick hat das Werk \u003cem\u003ePing Pong\u003c/em\u003e im Jahr 1972 auf dem H\u0026ouml;hepunkt der sogenannten Ping-Pong-Diplomatie, der Ann\u0026auml;herung zwischen China (Mao Zedong) und den Vereinigten Staaten (Richard Nixon), geschaffen. F\u0026uuml;r \u003cem\u003ePing Pong Revisited\u003c/em\u003e (2017) verwendet Van Snick seine Palette aus zehn Farben und den Gegensatz zwischen Tag und Nacht, d. h. Themen, die damals in seinem Gesamtwerk noch nicht ber\u0026uuml;cksichtigt wurden, um das Werk aus den siebziger Jahren zu aktualisieren.\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":"Philippe Van Snick","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/000/036/699/large/pingpong_final.jpg?1505383609","poster_credits":"(c)image: Philippe Van Snick, 2017, Courtesy Philippe Van Snick \u0026 Galerie Tatjana Pieters","translations":[{"locale":"en","description":"\u003cp style=\"text-align: justify;\"\u003eIn 1972, at the height of the so-called Ping Pong diplomacy, the rapprochement between China (Mao Zedong) and the United States (Richard Nixon), Philippe Van Snick creates his work \u003cem\u003ePing Pong\u003c/em\u003e.\u0026nbsp; For \u003cem\u003ePing Pong Revisited\u003c/em\u003e (2017), Van Snick uses his ten-color palette as well as the contrast between day and night - themes that were not yet present in his oeuvre at the time - to update the 1970\u0026#39;s work.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp style=\"text-align: justify;\"\u003ePhilippe Van Snick maakt\u0026nbsp;het werk \u003cem\u003ePing Pong\u003c/em\u003e in 1972 op het hoogtepunt van de zogenaamde Pingpongdiplomatie, de toenadering tussen China (Mao Zedong) en de Verenigde Staten (Richard Nixon). Voor \u003cem\u003ePing Pong Revisited\u003c/em\u003e (2017) gebruikt Van Snick zijn palet van tien kleuren en de tegenstelling tussen dag en nacht \u0026ndash; thema\u0026rsquo;s die toen nog niet aanwezig waren in zijn oeuvre \u0026ndash; om het werk uit de jaren 1970 te actualiseren.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp style=\"text-align: justify;\"\u003ePhilippe Van Snick a cr\u0026eacute;\u0026eacute; l\u0026rsquo;\u0026oelig;uvre \u003cem\u003ePing Pong\u003c/em\u003e en 1972, \u0026agrave; l\u0026rsquo;apog\u0026eacute;e de la diplomatie dite du \u0026laquo;\u0026nbsp;ping-pong\u0026nbsp;\u0026raquo; qui d\u0026eacute;signait le rapprochement diplomatique entre la Chine de Mao Zedong et les \u0026Eacute;tats-Unis sous l\u0026rsquo;administration Nixon. Pour \u003cem\u003ePing Pong Revisited\u003c/em\u003e (2017), Van Snick utilise sa palette de dix couleurs et le contraste entre le jour et la nuit \u0026ndash; des th\u0026egrave;mes qui n\u0026rsquo;\u0026eacute;taient pas encore pr\u0026eacute;sents dans son \u0026oelig;uvre \u0026ndash; pour actualiser l\u0026rsquo;\u0026oelig;uvre des ann\u0026eacute;es\u0026nbsp;70.\u003c/p\u003e\r\n"}]},{"id":20353,"title":"Letter to Philippe Van Snick","dimensions":"2 x (21 x 16.5 cm)","date_begin":"1969-01-01","material":"sheets of white paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":92,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy Philippe Van Snick ","cached_tag_list":"JLB James Lee Byars The Perfect Kiss","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"letter-to-philippe-van-snick","description_ru":"","description_de":"\u003cp\u003e\u003cstrong\u003eLetter to Philippe Van Snick\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Mr. Snick you can see how much I like your name writing avacado I\u0026rsquo;m at loss for words except to invite you to quickly send me 100 questions gathered from the U. of Ghent (Gent?) to Hud Inst. Croton on Hudson NY\u003cbr /\u003e\r\nfondly James Lee Byars\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePS 100,000,000 is my favorite num\u0026quot;\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/000/088/019/medium_500/12a_Byars_PVS.jpg?1665657140","cached_actor_names":"James Lee Byars","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/000/088/019/large/12a_Byars_PVS.jpg?1665657140","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003e\u003cstrong\u003eLetter to Philippe Van Snick\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Mr. Snick you can see how much I like your name writing avacado I\u0026rsquo;m at loss for words except to invite you to quickly send me 100 questions gathered from the U. of Ghent (Gent?) to Hud Inst. Croton on Hudson NY\u003cbr /\u003e\r\nfondly James Lee Byars\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePS 100,000,000 is my favorite num\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cstrong\u003eBrief aan Philippe Van Snick\u003c/strong\u003e\u003cbr /\u003e\r\nTranscriptie:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Mr. Snick you can see how much I like your name writing avacado I\u0026rsquo;m at loss for words except to invite you to quickly send me 100 questions gathered from the U. of Ghent (Gent?) to Hud Inst. Croton on Hudson NY\u003cbr /\u003e\r\nfondly James Lee Byars\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePS 100,000,000 is my favorite num\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cstrong\u003eLettre \u0026agrave;\u0026nbsp;Philippe Van Snick\u003c/strong\u003e\u003cbr /\u003e\r\nTranscription:\u003cbr /\u003e\r\n\u003cbr /\u003e\r\n\u003cem\u003e\u0026quot;Mr. Snick you can see how much I like your name writing avacado I\u0026rsquo;m at loss for words except to invite you to quickly send me 100 questions gathered from the U. of Ghent (Gent?) to Hud Inst. Croton on Hudson NY\u003cbr /\u003e\r\nfondly James Lee Byars\u003c/em\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003ePS 100,000,000 is my favorite num\u0026quot;\u003c/em\u003e\u003c/p\u003e\r\n"}]},{"id":5468,"title":"10 dagen - 10 nachten","dimensions":"20 x (24 x 18 cm)","date_begin":"1985-01-01","material":"vinyl, canvas, cardboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"M HKA/ Collection Flemish Community","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eEN\u003c/p\u003e\u003cp\u003eOn 4\u0026nbsp;July 2019 Philippe Van Snick died at the age of 72. With his meticulous and precise work, he is one of the artists who helped lay the foundations for our current contemporary art scene. This was confirmed last year, when he received the Flemish \u003ci\u003eUltima\u003c/i\u003e for visual arts. M HKA has had the pleasure of working closely with him these past years. In the spring of 2019, \u003ci\u003e10 dagen – 10 nachten (10 days – 10 nights)\u003c/i\u003e, which we are showing here, was included in \u003ci\u003eSalon de Peinture\u003c/i\u003e. In the fall of 2018 Van Snick collaborated on the exhibition \u003ci\u003eMiddle Gate II – The Story of Dymphna\u003c/i\u003e. In 2017 the exhibition \u003ci\u003ePing Pong\u003c/i\u003e, a collection presentation dedicated to the work of Van Snick, was held at M HKA. His work remains, his presence will be missed.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003e10 dagen – 10 nachten (10 days – 10 nights)\u0026nbsp;\u003c/i\u003econsists of twenty colored panels. Ten of them are uniformly painted black, the other ten uniformly blue. Black refers to the night, the blue is for the day. The theme of day and night to see emerges often in the oeuvre of Van Snick. The artist draws his inspiration from the most everyday experiences. Per set each panel is framed by a different color. It comes to color matching between the two series. The ten colors used by the artist, are the primary colors red, yellow and blue, the secondary colors orange, green and violet, the non-white and black and metallic gold and silver. These are the colors which Van Snick always works with. These colors can refer to both a psychological and a physical object. It is up to the viewer to make associations to give the colors meaning. While this works in a very minimalist imagery have been carried out, we cannot completely describe it as minimal as they are focused on the sensitivity of the spectators and witnesses of a radical openness in terms of the interpretation.\u003c/p\u003e\u003cp\u003eNL\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eOp 4\u0026nbsp;juli 2019 overleed Philippe Van Snick op 72-jarige leeftijd. Met zijn fijnzinnig precieze werk is hij een van de kunstenaars die mee de grondslagen hebben gelegd voor onze huidige hedendaagse kunstscene. Vorig jaar werd dat nog bevestigd toen hij de Vlaamse \u003ci\u003eUltima\u003c/i\u003e voor beeldende kunst kreeg. Het M HKA heeft de voorbije jaren met plezier intensief mogen samenwerken met hem. In het voorjaar van 2019 werd \u003ci\u003e10 dagen – 10 nachten\u003c/i\u003e, dat we nu tonen, opgenomen in \u003ci\u003eSalon de Peinture\u003c/i\u003e. In het najaar van 2018 werkte Van Snick met ons mee aan de tentoonstelling \u003ci\u003eMiddle Gate II – Het verhaal van Dimpna\u003c/i\u003e. En in 2017 was er in het M HKA de tentoonstelling \u003ci\u003ePing Pong\u003c/i\u003e, een aan hem gewijde collectiepresentatie. Zijn werk blijft, zijn aanwezigheid zullen we missen.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003e10 dagen – 10 nachten\u003c/i\u003e bestaat uit twintig gekleurde paneeltjes. Tien daarvan zijn gelijkmatig zwart geschilderd, de andere tien gelijkmatig blauw. Het zwart verwijst naar de nacht, het blauw naar de dag. Het\u0026nbsp;thema van dag en nacht zien we vaak opduiken in het oeuvre van Van Snick. De kunstenaar haalt zijn inspiratie uit de meest dagelijkse ervaringen. Per reeks wordt elk paneeltje door een andere kleur omlijst. Het gaat wel om dezelfde kleuren voor de twee reeksen. De paneeltjes worden ook telkens per omlijstende kleur samengehangen. De tien kleuren die de kunstenaar gebruikt, zijn de hoofdkleuren rood, geel en blauw, de secundaire kleuren oranje, groen en violet, de niet-kleuren wit en zwart en de metaalkleuren goud en zilver. Het zijn de kleuren waarin Van Snick altijd werkt. Deze kleuren kunnen zowel naar een psychische als naar een fysieke inhoud verwijzen. Van Snick hanteert ze om de realiteit voor te stellen. Het is aan de kijker om associaties te maken, om de kleuren betekenis te geven. Hoewel deze werken in een zeer minimalistische beeldtaal zijn uitgevoerd, kunnen we ze dus niet helemaal als minimaal omschrijven omdat ze gericht zijn op de sensibiliteit van de toeschouwer en getuigen van een radicale openheid op het vlak van de interpretatie.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eFR\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003eLe 7\u0026nbsp;juillet 2019, Philippe Van Snick est décédé à l’âge de 72\u0026nbsp;ans. Son œuvre subtile et précise en fait l’un des artistes ayant contribué à poser les fondements de notre artistique contemporaine. Ce que la remise du prix flamand de la culture, l’Ultima pour les Arts plastiques, a une fois de plus confirmé l’année passée. Le M\u0026nbsp;HKA a eu le privilège au cours des dernières années de pouvoir étroitement collaborer avec cet artiste. Au printemps\u0026nbsp;2019, l’œuvre \u003ci\u003e10\u0026nbsp;dagen – 10\u0026nbsp;nachten\u003c/i\u003e [\u003ci\u003e10 jours – 10\u0026nbsp;nuits\u003c/i\u003e] a fait partie de la sélection présentée au Salon de Peinture. À l’automne\u0026nbsp;2018, Van Snick a participé à l’exposition \u003ci\u003eMiddle Gate\u0026nbsp;II – Het verhaal van Dimpna\u003c/i\u003e [\u003ci\u003eMiddle Gate\u0026nbsp;II – L’histoire de Dymphna\u003c/i\u003e]. Et en 2017, l’exposition \u003ci\u003ePing Pong\u003c/i\u003e au M\u0026nbsp;HKA, une présentation de la collection, lui était consacrée. Son œuvre subsiste, sa présence nous manquera.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003e10 dagen – 10 nachten\u003c/i\u003e (10 jours – 10 nuits) est composé de vingt panneaux de couleur. Dix de ceux-ci sont peints uniformément en noir, les dix autres sont peints uniformément en bleu. Le noir fait référence à la nuit, alors que le bleu se réfère au jour. Le thème du jour et de la nuit est souvent utilisé dans l’œuvre de Van Snick. L’artiste tire son inspiration des expériences les plus quotidiennes. Dans une série, chaque panneau est encadré avec une couleur différente. Il s’agit bel et bien des mêmes couleurs pour les deux séries. Les panneaux sont aussi systématiquement accrochés ensemble par couleur d’encadrement. Les dix couleurs que l’artiste utilise sont les couleurs principales rouge, jaune et bleu, les couleurs secondaires orange, vert et violet, les non-couleurs blanc et noir et les couleurs métalliques or et argent. Celles-ci constituent les couleurs avec lesquelles Van Snick travaille tout le temps. Ces couleurs peuvent à la fois faire référence à un contenu psychique et physique. Van Snick les utilise pour présenter la réalité. Il incombe au spectateur de faire les associations pour donner du sens aux couleurs. Même si ces œuvres sont réalisées dans un langage visuel très minimaliste, nous ne pouvons pas non plus les définir entièrement comme des œuvres minimalistes, car elles sont orientées vers la sensibilité du spectateur et témoignent d’une ouverture radicale en matière d’interprétation.\u003c/p\u003e","date_end":null,"reference":"BK005422","stream_count_app":64,"permalink":"10-dagen-10-nachten","description_ru":"","description_de":"\u003cp style=\"text-align:justify;\"\u003eAm 7. Juli 2019 verstarb Philippe Van Snick im Alter von 72 Jahren. Mit seinem feinsinnig präzisen Werk gehört er zu jenen Künstlern, die den Weg für unsere heutige zeitgenössische Kunstszene geebnet haben. Dafür erhielt er im letzten Jahr die flämische Auszeichnung \u003ci\u003eUltima\u003c/i\u003e für bildende Kunst. Das M HKA hat in den letzten mit Freude intensiv mit ihm zusammenarbeiten dürfen. Im Frühjahr 2019 wurde das Werk \u003ci\u003e10 Tage – 10 Nächte, \u003c/i\u003edas wir jetzt zeigen, in den \u003ci\u003eSalon de Peinture aufgenommen\u003c/i\u003e. Im Herbst 2018 arbeitete Van Snick gemeinsam mit uns an der Ausstellung \u003ci\u003eMiddle Gate II – Die Geschichte von Dimpna\u003c/i\u003e. Und im Jahr 2017 gab es im M HKA die Ausstellung \u003ci\u003ePing Pong\u003c/i\u003e, eine ihm gewidmete Kollektionspräsentation. Sein Werk bleibt, seine Anwesenheit werden wir vermissen.\u003c/p\u003e\u003cp style=\"text-align:justify;\"\u003e\u003ci\u003e10 Tage – 10 Nächte\u003c/i\u003e besteht aus zwanzig gefärbten Platten. Zehn davon sind gleichmäßig schwarz bemalt, die anderen zehn gleichmäßig blau. Das Schwarz verweist auf die Nacht, das Blau auf den Tag. Das Thema von Tag und Nacht tritt häufig im Oeuvre von Van Snick auf. Der Künstler schöpft seine Inspiration aus den alltäglichsten Erfahrungen. Pro Reihe wird jede Platte von einer anderen Farbe umrahmt. Es sind jedoch dieselben Farben für die zwei Reihen. Die Platten werden jeweils pro umrahmte Farbe zusammengehängt. Die zehn Farben, die der Künstler benutzt, sind die Hauptfarben Rot, Gelb und Blau, die sekundären Farben Orange, Grün, Violett, die Nichtfarben Weiß und Schwaz und die Metallfarben Gold und Silber. Es sind die Farben, mit denen Van Snick immer arbeitet. Diese Farben können sowohl auf einen psychischen als auch auf einen physischen Inhalt verweisen. Van Snick benutzt sie, um die Realität darzustellen. Es bleibt dem Beobachter überlassen, um Verbindungen herzustellen, um den Farben eine Bedeutung zu verleihen. Obwohl diese Farben in einer sehr minimalistischen Bildersprache ausgeführt sind, können wir sie dennoch nicht als minimal beschreiben, da sie auf die Sensibilität des Beobachters ausgerichtet sind und von einer radikalen Offenheit auf dem Gebiet der Interpretation zeugen.\u003c/p\u003e","description_es":"","description_el":"\u003cp style=\"text-align:justify;\"\u003eΗ σειρά \u003ci\u003e10 Dagen – 10 Nachten\u003c/i\u003e [10 ημέρες – 10 νύχτες] του Φίλιπ Βαν Σνικ αποτελείται από είκοσι έγχρωμα πάνελ. Τα δέκα είναι βαμμένα ομοιόμορφα μαύρα, και τα άλλα δέκα ομοιόμορφα γαλάζια. Το μαύρο αναφέρεται στη νύχτα, το γαλάζιο στην ημέρα. Το θέμα της ημέρας και της νύχτας εμφανίζεται συχνά στο έργο του Βαν Σνικ. Ο καλλιτέχνης αντλεί έμπνευση από τις πιο κοινότοπες εμπειρίες. Ανά σύνολο, κάθε πάνελ πλαισιώνεται από ένα διαφορετικό χρώμα. Τα χρώματα των δύο συνόλων συμπληρώνουν το ένα το άλλο. Τα δέκα χρώματα που χρησιμοποιεί ο καλλιτέχνης είναι τα βασικά χρώματα κόκκινο, κίτρινο και μπλε, τα δευτερογενή χρώματα πορτοκαλί, πράσινο και βιολετί, το μη λευκό και το μαύρο, και το μεταλλικό χρυσό και ασημί. Ο Βαν Σνικ δουλεύει πάντοτε με αυτά τα χρώματα. Μπορούν να αναφέρονται τόσο σε ψυχολογικά όσο και σε φυσικά αντικείμενα. Εναπόκειται στον θεατή να αναπτύξει συνειρμούς και να δώσει νόημα στα χρώματα. Μολονότι το παρόν έργο έχει σαφή μινιμαλιστικά στοιχεία, δεν μπορούμε να το περιγράψουμε ως αμιγώς μινιμαλιστικό, αφού απευθύνεται στην ευαισθησία των θεατών και χαρακτηρίζεται από μια απόλυτη ευρύτητα ερμηνείας.\u003c/p\u003e","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/000/048/939/medium_500/Philippe_Van_Snick_10_dagen_10_Nachten_1985_collectie_M_HKA_photo_M_HKAcc__1_web.jpg?1570005982","cached_actor_names":"Philippe Van Snick","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/000/010/912/large/Snick__Philippe_Van__10_dagen-10nachten__1985_photo__Heirman_Graphics.JPG?1342518187","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003ePhilippe Van Snick’s \u003ci\u003e10 Days – 10 Nights\u003c/i\u003e consists of a series of twenty canvases mounted on cardboard. The work represents an early example of how the artist brings together certain fundamental principles in his practice, thereby occupying a key position within his oeuvre. Drawing on the decimal system (0–9), Van Snick creates ten pairs of paintings in this work. Each pair combines a light blue and a black area, referring respectively to day and night. Around these areas, he applies a border in one of the ten colours from his characteristic colour palette: the primary colours red, yellow and blue; the secondary colours orange, green and violet; the non-colours white and black; and the metallic colours gold and silver. Throughout his practice, Philippe Van Snick shows how setting a small number of constraints can give rise to endless variation.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003ci\u003e10 dagen - 10 nachten\u003c/i\u003e van Philippe Van Snick bestaat uit een reeks van twintig canvassen bevestigd op karton. Het werk vormt een vroeg voorbeeld van hoe de kunstenaar enkele fundamentele principes in zijn praktijk samenbrengt, waardoor het een sleutelpositie inneemt binnen zijn oeuvre. Uitgaand van het decimale systeem (0-9) creëert Van Snick in dit werk tien koppels schilderijen. Elk duo combineert een lichtblauw en zwart vlak, die respectievelijk naar de dag en de nacht verwijzen. Rond deze vlakken brengt hij een rand aan in één van de tien kleuren uit zijn kenmerkend kleurenpallet: de primaire kleuren rood, geel en blauw, de secundaire kleuren oranje, groen en violet, de niet-kleuren wit en zwart, en de metaalkleuren goud en zilver. Doorheen zijn praktijk toont Philippe Van Snick hoe het opleggen van enkele beperkingen, oneindige variaties kan voortbrengen.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003ci\u003e10 jours - 10 nuits\u003c/i\u003e de Philippe Van Snick se compose d’une série de vingt toiles montées sur carton. Cette œuvre constitue un exemple précoce de la manière dont l’artiste réunit certains principes fondamentaux dans sa pratique, ce qui lui confère une place centrale dans son œuvre. Partant du système décimal (0-9), Van Snick crée dans cette œuvre dix paires de tableaux. Chaque duo combine une surface bleu clair et une surface noire, qui renvoient respectivement au jour et à la nuit. Autour de ces surfaces, il applique une bordure dans l’une des dix couleurs de sa palette caractéristique : les couleurs primaires rouge, jaune et bleu, les couleurs secondaires orange, vert et violet, les non-couleurs blanc et noir, et les couleurs métalliques or et argent. À travers son travail, Philippe Van Snick montre comment l’imposition de quelques contraintes peut donner lieu à des variations infinies.\u003c/p\u003e"}]},{"id":5469,"title":"J. Beuys en M. Broodthaers","dimensions":"40 x 415 cm","date_begin":"1986-01-01","material":"paper, watercolor,  photocopies","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK005406","stream_count_app":37,"permalink":"j-beuys-en-m-broothaers","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":"Philippe Van Snick","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/000/033/064/large/2016_Van_Broodthaers_tot_Braeckman__3.jpg?1475501550","poster_credits":"Image: (c) M HKA, Collectie M HKA, Collectie Vlaamse Gemeenschap","translations":[{"locale":"en","description":"\u003cp\u003eThis work consists of a series of ten monochromes in wooden frames. Since 1980 Van Snick has been systematically using primary (red, yellow and blue) and secondary colours (orange, green and violet) together with the non-colours black and white and the metallic colours gold and silver. At the two ends of this series he added black and white photos of Joseph Beuys and Marcel Broodthaers as points of notice. They are facing each other. Van Snick literally places his work between these two artists.\u003c/p\u003e\u003cp\u003eBeuys and Broodthaers are generally regarded to be two of the leading artists of the second half of the twentieth century. They are also seen as poles in the history of contemporary art. They died exactly ten years apart (Broodthaers in 1976 and Beuys in 1986), an element that \u0026nbsp;fits well into Philippe Van Snick’s rational thinking. Since the seventies he has been fascinated by what he calls the ‘ten elements’, which consist of ten main colours and the ten numerical figures (0 to 9). The portraits of Beuys and Broodthaers are a variation on the theme of day and night which, together with the colours and the ten elements form a constant principle in the artist’s oeuvre.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eHet werk bestaat uit een serie van 10 monochromen, die ingekaderd zijn in houten lijsten. Van Snick gebruikt sinds 1980 systematisch primaire [rood, geel en blauw] en secundaire [oranje, groen, violet] kleuren samen met de niet-kleuren zwart en wit en de metaalkleuren goud en zilver. Op de uiteinden van deze serie plaatst hij als aandachtspunten zwart-wit foto’s van Joseph Beuys en Marcel Broodthaers. Hun gezichten zijn naar elkaar toe gericht. Van Snick plaatst zijn werk hier letterlijk tussen de twee kunstenaars in.\u003c/p\u003e\u003cp\u003eBeuys en Broodthaers worden algemeen erkend als twee van de voornaamste kunstenaars uit de tweede helft van de twintigste eeuw. Ze worden bovendien beschouwd als twee [tegen]polen in de geschiedenis van de hedendaagse kunst. Ze zijn precies tien jaar na elkaar overleden [Broodthaers in 1976, Beuys in 1986], een element dat past in de rationele denkwereld van Philippe Van Snick. Sinds de jaren zeventig is hij sterk gefascineerd door wat hij noemt de ‘tien elementen’, die onder meer bestaan uit tien hoofdkleuren en de tien cijfers [van 0 tot 9]. De portretten van Beuys en Broodthaers vormen een variatie op het thema van dag en nacht, dat samen met de kleuren en de tien elementen een vast principe vormt in het oeuvre van de kunstenaar.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eL’œuvre se compose d’une série de dix monochromes dans des cadres en bois. Depuis 1980, Van Snick utilise systématiquement les couleurs primaires [rouge, jaune et bleu] et secondaires [orange, vert, violet] avec les non-couleurs noir et blanc et les couleurs métalliques or et argent. À l’extrémité de cette série, comme points d’attention, il place des photos en noir et blanc de Joseph Beuys et de Marcel Broodthaers, dont les visages se font face. Van Snick situe littéralement son œuvre entre les deux artistes.\u003c/p\u003e\u003cp\u003eBeuys et Broodthaers sont généralement reconnus comme les deux artistes majeurs de la seconde moitié du XX\u003csup\u003ee\u003c/sup\u003e\u0026nbsp;siècle. Ils sont en outre considérés comme les deux pôles [opposés] de l’histoire de l’art contemporain. Ils sont décédés à dix ans d’intervalle [Broodthaers en 1976, Beuys en 1986], un élément qui cadre dans l’univers mental rationnel de Philippe Van Snick. Depuis les années\u0026nbsp;70, celui-ci est fasciné par ce qu’il appelle «\u0026nbsp;les dix éléments\u0026nbsp;» qui se composent, entre autres, de dix couleurs dominantes et des dix chiffres [de 0 à 9]. Les portraits de Beuys et de Broodthaers forment une variation sur le thème du jour et de la nuit, un thème qui conjointement aux couleurs et aux 10 éléments constitue un principe permanent dans l’œuvre de l’artiste.\u003c/p\u003e"}]}]