[{"id":405,"title":"Zonder titel [Untitled]","dimensions":"21 x 29 cm","date_begin":"1974-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"object mixed media artistbook","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK007455","stream_count_app":23,"permalink":"zonder-titel-untitled--84","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":"Toon Tersas","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/809/large/Tersas,%200017%20Toon,%20Boek,%201974,%20photo.jpg?1303117349","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":402,"title":"Tolles Gehirn [Crazy Brain]","dimensions":"23 x 29 cm","date_begin":"1971-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"object mixed media artistbook","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK007448","stream_count_app":23,"permalink":"tolles-gehirn-crazy-brain","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":"Toon Tersas","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/000/807/large/Tersas,%200071Toon,%20Tolles%20gehirn,%201971%20photo2.jpg?1303116294","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":407,"title":"Omo wast niet alles wit [Omo Doesn't Wash Everything Out]","dimensions":"93 x 50 cm","date_begin":"1966-01-01","material":"textile","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"object photo mixed media","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK007468","stream_count_app":29,"permalink":"omo-wast-niet-alles-wit-omo-doesn-t-wash-everything-out","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":"Toon Tersas","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/352/large/Tersas,%20Toon,%20Omo%20wast%20niet%20alles%20wit,%201966.jpg?1305298414","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2805,"title":"Portretten uit de Koude Oorlog [Portraits from the Cold War]","dimensions":"5 x (700 x 560 mm)","date_begin":"1968-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":76,"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":"","stream_count_app":17,"permalink":"portretten-uit-de-koude-oorlog-portraits-from-the-cold-war","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":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/000/017/603/large/Tersas__Toon__Portraits_of_a_cold_war__1968_1.JPG?1370266549","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5656,"title":"Oberreichskriegsanwalt [Senior Attorney in the War Office]","dimensions":"65 x 50 cm","date_begin":"1985-01-01","material":"washed ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK7465_M320","stream_count_app":25,"permalink":"oberreichskriegsanwalt-senior-attorney-in-the-war-office","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/000/011/154/large/Tersas__Toon__Oberreichskriegsanwalt__A_1985___photo__MuHKA_clinckx3.jpg?1342769234","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eOberreichskriegsanwalt\u003c/em\u003e\u0026nbsp;(Senior Attorney in the War Office) is one of the diptychs by Toon Tersas in the M HKA collection. These idiosyncratic diptychs are visually quite similar: the left side is filled-in with (calligraphic) text, the right side with a graphic image. The technique, washed ink on paper, is also the same. Nonetheless, they constitute no completed or closed series: each work stands on its own and different combinations are possible. Tersas sees a clear connection between text and image. Often his starting point is text: a newspaper article or something else he\u0026rsquo;s accidentally comes across in his reading, but writings of celebrated writers and philosophers are references as well. Then he \u0026lsquo;intervenes\u0026rsquo; vis-\u0026agrave;-vis the text, both in terms of content and form.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe artist also isolates text-fragments, combines them and adds his own, very critical commentary. In this way he prevents a too-simple understanding of his work: the viewer must take his time to decipher the works and to search for possible interpretations. Tersas himself says that he doesn\u0026rsquo;t want to convey a message, that he\u0026rsquo;s just interested in form and the letters\u0026rsquo; line. And yet, the meaning of the texts and commentaries is crucial: form and content, image and interpretation are inextricably linked. Tersas\u0026rsquo;s personal history serves as the foundation for his recurring themes. His fascination for Germany, the German language and, for example, Nazism in the case of \u003cem\u003eOberreichskriegsanwalt\u003c/em\u003e, harks back to his period of forced-labor in Germany as an 18 year-old during WWII. Tersas wanted to lay the world bare, remove its mask. According to his widow, he lived \u003cem\u003e\u0026ldquo;in a constant state of rage about the state of the world\u0026rdquo;\u003c/em\u003e. He vented his dissatisfaction with himself and time\u0026rsquo;s inexorable essence through his works. His working method (like copying by hand) is a very conscious reaction against the speed of the world we live in.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eOberreichskriegsanwalt\u003c/em\u003e\u0026nbsp;is \u0026eacute;\u0026eacute;n van de diptieken die het M HKA van Toon Tersas bezit. Deze eigenzinnige diptieken van zijn visueel zeer gelijkend: de linkerkant wordt ingevuld met (kalligrafische) tekst, de rechterkant met een grafisch beeld. De techniek, gewassen inkt op papier, is ook telkens dezelfde. Toch vormen ze geen afgeronde of gesloten reeks: elk werk staat op zich en verschillende combinaties zijn mogelijk. Tersas zag een duidelijke verbinding tussen tekst en beeld. Hij vertrok vaak vanuit tekst: een krantenbericht of iets anders wat hij toevallig las, maar ook geschriften van gevierde schrijvers en filosofen. Vervolgens greep hij in op de teksten, zowel qua inhoud als vorm.\u003c/p\u003e\r\n\r\n\u003cp\u003eDe kunstenaar isoleerde ook tekstfragmenten, combineerde ze en vulde ze aan met eigen, zeer kritische commentaar. Op die manier verhinderde hij een eenvoudig begrip van zijn werk: de toeschouwer moet zijn tijd nemen om de werken te ontcijferen en op zoek te gaan naar mogelijke interpretaties. Tersas zei zelf dat hij geen boodschap wou overbrengen, dat het hem enkel ging om de vorm en de lijnvoering van de letters. Toch is de betekenis van de teksten en commentaren cruciaal: vorm en inhoud, beeld en interpretatie zijn niet los te koppelen. Tersas\u0026rsquo; biografie ligt aan de basis van terugkerende thema\u0026rsquo;s. Zo is zijn fascinatie voor Duitsland, de Duitse taal en bijvoorbeeld het nazisme in \u003cem\u003eOberreichskriegsanwalt\u003c/em\u003e\u0026nbsp;terug te voeren op zijn verplichte tewerkstelling als 18-jarige in Duitsland tijdens W.O. II. Tersas wou de wereld ontmaskeren. Volgens zijn weduwe leefde hij in een \u003cem\u003e\u0026ldquo;voortdurende staat van woede over de gang van de wereld\u0026rdquo;\u003c/em\u003e. Hij ventileerde zijn onvrede met zichzelf en het wezen van zijn tijd in zijn werken. Zijn manier van werken (zoals met de hand kopi\u0026euml;ren) is een heel bewuste reactie tegen de snelheid van de wereld waarin we leven.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":7776,"title":"Muurkrant, fragmenten uit 'Tagebuch einer zorniger Zeitkritik', 1966 - 1967 [Wall Newspaper, fragments from 'Diary of an Angry Critique of the Time', 1966 - 1967]","dimensions":"variable dimensions","date_begin":"1966-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"drawing","publishing_process_id":1,"annotation":"","date_end":"1967-01-01","reference":"BK007450","stream_count_app":22,"permalink":"muurkrant-fragmenten-uit-tagebuch-einer-zorniger-zeitkritik-1966-1967-wall-newspaper-fragments-from-diary-of-an-angry-critique-of-the-time-1966-1967","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":"Toon Tersas","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/000/017/738/large/Tersas__0068_Toon__Tagebuch_%28fragmenten%29__1966.jpg?1370523617","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eNewspaper cutouts, fragments of texts, bills, fantasy lands, logos, calligraphies, stamps, humans and animals, collected from the reservoir of our everyday life, are the things that Toon Tersas shows us. However, he subjects these things to an additional edit, by representing them in a nigh-impossible way. With his techniques, Tersas defies all ideas and methods known to us: he employs the signs of pop-art, of dada, of the collagists, but through the absence of a \u0026#39;grand gesture\u0026#39; and the effect of delay caused by the laborious act of copying, he creates extra space for reflection.\u003c/p\u003e\r\n\r\n\u003cp\u003e- Mat Verbekt on Toon Tersas, translated from Dutch in \u003cem\u003eDe wereld als een kiosk, of: hoe schrijft een autodidact zijn leven\u003c/em\u003e, in the publication \u003cem\u003eToon Tersas\u003c/em\u003e, 1997\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eKrantenknipsels, filmstills, tekstfragmenten, rekeningen, fantasielanden, logo\u0026#39;s, kalligrafie\u0026euml;n, postzegels, mensen en dieren, samengeraapt uit de vergaarbak van ons dagelijks bestaan, zijn de dingen die Toon Tersas laat zien. Deze dingen krijgen echter nog een bewerking door ze op een bijna onmogelijke wijze weer te geven. Met zijn technieken tart hij alle idee\u0026euml;n en werkwijzen die ons bekend zijn: hij hanteert de tekens van de pop-art, van dada, van de collagisten, maar door het ontbrekende grote gebaar en door de vertragende werking van het soms moeizame kopiistenwerk schept hij de extra ruimte om te denken.\u003c/p\u003e\r\n\r\n\u003cp\u003e- Mat Verbekt over Toon Tersas, in \u003cem\u003eDe wereld als een kiosk, of: hoe schrijft een autodidact zijn leven\u003c/em\u003e, in de publicatie \u003cem\u003eToon Tersas\u003c/em\u003e, 1997\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCoupures de journaux, extraits vid\u0026eacute;o, de texte, factures, pays imaginaires, logos, calligraphies, timbres, personnes et animaux, glan\u0026eacute;s dans le bac de r\u0026eacute;cup\u0026eacute;ration de notre existence quotidienne, voil\u0026agrave; ce que montre Toon Tersas. Cependant, toutes ces choses sont encore trait\u0026eacute;es en \u0026eacute;tant repr\u0026eacute;sent\u0026eacute;es de mani\u0026egrave;re quasiment impossible. Avec ses techniques, il d\u0026eacute;fie toutes les id\u0026eacute;es et les m\u0026eacute;thodes qui nous sont connues : il utilise les signes du pop-art, du dada, des collagistes mais en l\u0026#39;absence de grand geste et en raison de l\u0026#39;action retardatrice du travail de copiste parfois laborieux, il cr\u0026eacute;e l\u0026#39;espace suppl\u0026eacute;mentaire n\u0026eacute;cessaire pour r\u0026eacute;fl\u0026eacute;chir.\u003c/p\u003e\r\n\r\n\u003cp\u003e- Mat Verbekt \u0026agrave; propos de Toon Tersas, dans\u003cem\u003e De wereld als een kiosk, of: hoe schrijft een autodidact zijn leven\u003c/em\u003e, dans la publication\u003cem\u003e Toon Tersas\u003c/em\u003e, 1997\u003c/p\u003e\r\n"}]},{"id":5635,"title":"He was born in Hobita","dimensions":"65 x 50 cm","date_begin":"1985-01-01","material":"washed ink","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK007460","stream_count_app":19,"permalink":"he-was-born-in-hobita","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":"Toon Tersas","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/000/011/102/large/Tersas__Toon___He_was_born_in_Hobita__A__1985__photo__MuHKA_clinckx10.jpg?1342700386","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":"\u003cp\u003eIn *He was born in Hobita*, Toon Tersas refers to the Romanian sculptor Constantin Brancusi, who was indeed born in Hobita in 1876. Brancusi is considered a pioneer in modern sculpture, his abstracted, geometrical statues being quite radical for his time. The text of *He was born in Hobita*, full of lofty praise, elevates the person of Brancusi to an almost mythological status; the text brings to mind the weighty style of some religious tomes. With this work, Tersas questions the elevated status of art and artists. He comments on the invisible weight contemporary artists might feel, as a result of the \u0026#39;legendary\u0026#39; achievements of their predecessors in the history of art.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn *He was born in Hobita* verwijst Toon Tersas naar de Roemeense beeldhouwer Constantin Brancusi, die inderdaad in 1876 in Hobita geboren werd. Brancusi wordt met zijn toentertijds radicaal abstracte, geometrische beelden gezien als een pionier van de moderne beeldhouwkunst. De tekst van *He was born in Hobita*, die bol staat van lofuitingen, verheft de persoon Brancusi haast tot mythologische status; de tekst doet wel denken aan de gewichtige stijl van sommige religieuze boekwerken. Met dit werk stelt Tersas de verheven status van kunst en kunstenaars in vraag. Hij geeft commentaar op het onzichtbare gewicht dat hedendaagse kunstenaars kunnen voelen, ten gevolge van de \u0026#39;legendarische\u0026#39; prestaties van hun voorgangers uit de kunstgeschiedenis.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]}]