{"id":14494,"title":"144 tentatives de sourire... mais l'on sait le vécu quotidien de la plupart des individus, Accompagné de 881 tentatives de rire enregistrés sur cassette, tout d'une traite","dimensions":"9 x 73 x 61 cm ","date_begin":"1974-01-01","material":"135 photographies NB, tirage argentique, marouflées sur carton, et CD audio","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Nadja Vilenne","cached_tag_list":"Jacques Lizène tentatives de sourire Fotografie","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"144-tentatives-de-sourire-mais-l-on-sait-le-vecu-quotidien-de-la-plupart-des-individus-accompagne-de-881-tentatives-de-rire-enregistres-sur-cassette-tout-d-une-traite","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Jacques Lizène","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,"category":{"en":"Photography","nl":"Fotografie","fr":"Photographie"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/032/988/large/JacquesLiz%C3%A8ne_144_tentatives_de_sourier_1.jpg?1475239337","poster_credits":"image: (c) M HKA, Courtesy Nadja Vilenne","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eJacques Liz\u0026egrave;ne, an artist of the school of mediocrity and unimportance (attitudinal art) whose artistic approach, although not lacking in humour, is not the mockery of different forms of current art or of the currently fashionable artistic milieu\u0026hellip; but is an attitude (attitudinal art) which strives to introduce \u0026ldquo;mediocrity in the history of art\u0026rdquo; by pressing for its consecration in art. In a way, we are in the presence here of a confrontation with normal imperialism still existing in the world of art.\u003cbr /\u003e\r\nImperialism of talent in art was, even before 1970, the preoccupation of Jacques Liz\u0026egrave;ne\u0026rsquo;s work, as shown in the position he adopted in \u0026ldquo;art without talent\u0026rdquo; and later on in the 1970\u0026rsquo;s, the fact that he called himself \u0026ldquo;a lesser Li\u0026eacute;geois painter of the second half of the 20th century\u0026rdquo; (in the pejorative sense) or \u0026ldquo;the artist of mediocrity and unimportance\u0026rdquo; (which is obviously of great importance in modern art, ah ah ah ah ah!). Jacques Liz\u0026egrave;ne practices \u0026ldquo;the art of mediocrity\u0026rdquo; in all its forms\u0026hellip; \u0026ldquo;irritating\u0026rdquo; video (1971-74-79-82), small pitiable drawings (1966-1980), \u0026ldquo;bad\u0026rdquo; painting and that of faecal matter (1966-1977-1980), mediocre song (shabby music-hall) (1970-1980-82), very ordinary performances (1970-1980), \u0026ldquo;academic approaches\u0026rdquo;, non-sculpture (1970-84) and other creations \u0026ndash; new/non-abstraction (1980-85) which he defined as \u0026ldquo;uninteresting, but of the greatest importance\u0026rdquo; (ah ah ah ah!), Outskirts of art.\u003c/p\u003e\r\n\r\n\u003cdiv\u003e\r\n\u003cp\u003eWodek Majewski,\u0026nbsp;Marc Renwart, \u003cem\u003eAnimal and\u0026nbsp; vegetable in contemporary Belgian art,\u003c/em\u003e Brussels, Atelier 340, 1985, p. 265\u003c/p\u003e\r\n\u003c/div\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003eJacques Liz\u0026egrave;ne, kunstenaar van het onbenullige en het onbelangrijke (art d\u0026rsquo;attitude). De artistieke houding van Jacques Liz\u0026egrave;ne is, alhoewel ze niet gespeend is van enige humor, niet bedoeld om de diverse actuele kunstvormen of de gangbare artistieke middens belachelijk te maken, maar een houding (art d\u0026rsquo;attitude), die de onbenulligheid in de kunstgeschiedenis wil invoeren, door aan te dringen op de bevestiging ervan. In zekere zin is het een protest tegen het heersende ordinair imperialisme in de kunst. Reeds van voor 1970 reageert Jacques Liz\u0026egrave;ne met zijn oeuvre tegen het imperialisme van het talent in de kunst, door te pleiten voor een \u0026ldquo;kunst zonder talent\u0026rdquo; en door zich vervolgens, in de jaren zeventig \u0026ldquo;de Kleine Luikse Meester van de tweede helft van de Twintigste Eeuw\u0026rdquo; (in de pejoratieve betekenis) te noemen, of \u0026ldquo;de kunstenaar van het onbenullige en het onbelangrijke\u0026rdquo; (hetgeen uiteraard zeer belangrijk is in de moderne kunst, ha, ha, ha ha!).\u003cbr /\u003e\r\nJacques Liz\u0026egrave;ne beoefent de \u0026ldquo;onbenullige kunst\u0026rdquo; in al z\u0026rsquo;n vormen: de \u0026ldquo;ergerlijke\u0026rdquo; video (1971-74-79-82), de kleine ellendige tekeningen (1966-1980), de \u0026ldquo;slechte\u0026rdquo; schilderijen met uitwerpselen (1966-1977-1980), het middelmatige lied (de middelmatige music-hall) (1970-1980-1982), de om-het-even-welke performances (1970-1980), de academische ondernemingen, de nulsculptuur (1970-1984) en andere producties (de nieuwe nul-abstractie, 1980-1985), die door hem gedefinieerd worden als \u0026ldquo;zonder betekenis, maar van het hoogste belang\u0026rdquo; (ha, ha, ha, ha!), de sloppenwijken van de kunst.\u003c/p\u003e\r\n\r\n\u003cp\u003eJacques Liz\u0026egrave;ne (kunstcriticus)\u003c/p\u003e\r\n\r\n\u003cp\u003eWodek Majewski,\u0026nbsp;Marc Renwart, \u003cem\u003eHet dierlijke en plantaardige in de hedendaagse Belgische kunst\u003c/em\u003e, Brussel, Atelier 340, 1985, p. 264\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp\u003eJacques Liz\u0026egrave;ne, artiste de la m\u0026eacute;diocrit\u0026eacute; et de la sans-importance (art d\u0026rsquo;attitude). La d\u0026eacute;marche artistique de Jacques Liz\u0026egrave;ne, bien que non d\u0026eacute;pourvue d\u0026rsquo;humour, n\u0026rsquo;est pas la d\u0026eacute;rision des diff\u0026eacute;rentes\u0026nbsp; formes d\u0026rsquo;art actuel ou du milieu artistique \u0026agrave; la mode\u0026hellip; mais une attitude (art d\u0026rsquo;attitude) qui consiste \u0026agrave; vouloir introduire la \u0026laquo;\u0026nbsp;m\u0026eacute;diocrit\u0026eacute; dans l\u0026rsquo;histoire de l\u0026rsquo;art\u0026nbsp;\u0026raquo; en insistant sur la cons\u0026eacute;cration de celle-ci. En quelque sorte, il s\u0026rsquo;agit d\u0026rsquo;une opposition \u0026agrave; l\u0026rsquo;imp\u0026eacute;rialisme ordinaire ayant cours dans le monde de l\u0026rsquo;art. L\u0026rsquo;imp\u0026eacute;rialisme du talent en art \u0026eacute;tant, d\u0026egrave;s avant 1970, la pr\u0026eacute;occupation de l\u0026rsquo;\u0026oelig;uvre de Jacques Liz\u0026egrave;ne, cela avec sa prise de position pour \u0026laquo;\u0026nbsp;l\u0026rsquo;art sans talent\u0026nbsp;\u0026raquo; et, par la suite, dans les ann\u0026eacute;es 70, le fait de s\u0026rsquo;intituler \u0026laquo;\u0026nbsp;Petit-ma\u0026icirc;tre li\u0026egrave;geois de la seconde moiti\u0026eacute; du XX\u0026egrave;me si\u0026egrave;cle\u0026nbsp;\u0026raquo; (dans le sens p\u0026eacute;joratif) ou \u0026laquo;\u0026nbsp;l\u0026rsquo;artiste de la m\u0026eacute;diocrit\u0026eacute; et de la sans-importance\u0026nbsp;\u0026raquo; (ce qui est \u0026eacute;videmment tr\u0026egrave;s important dans l\u0026rsquo;art moderne, ah ah ah ah\u0026nbsp;!).\u003cbr /\u003e\r\nJacques Liz\u0026egrave;ne exerce \u0026laquo;\u0026nbsp;l\u0026rsquo;art de la m\u0026eacute;diocrit\u0026eacute;\u0026nbsp;\u0026raquo; sous toutes ses formes\u0026hellip; la vid\u0026eacute;o \u0026laquo;\u0026nbsp;aga\u0026ccedil;cante\u0026nbsp;\u0026raquo; (1971-74-79-82), les petits dessins minables (1966-1980), la peinture \u0026laquo;\u0026nbsp;mauvaise\u0026nbsp;\u0026raquo;et celle \u0026agrave; la mati\u0026egrave;re f\u0026eacute;cale (1966-1977-1980), la chanson m\u0026eacute;diocre (le minable music-hall) (1970-1980-1982), les performances quelconques (1970-1980), les \u0026laquo;\u0026nbsp;d\u0026eacute;marches acad\u0026eacute;miques\u0026nbsp;\u0026raquo;, la sculpture nulle (1970-84) et autres productions (la nouvelle-abstraction-nulle) (1980-85) d\u0026eacute;finies par lui comme \u0026laquo;\u0026nbsp;sans int\u0026eacute;r\u0026ecirc;t, mais de la plus haute importance\u0026nbsp;\u0026raquo; (ah ah ah ah ah\u0026nbsp;!), la Banlieue de l\u0026rsquo;art.\u003c/p\u003e\r\n\r\n\u003cp\u003eJacques Liz\u0026egrave;ne (critique d\u0026rsquo;art)\u003c/p\u003e\r\n\r\n\u003cp\u003eWodek Majewski,\u0026nbsp;Marc Renwart, \u003cem\u003eDe l\u0026#39;animal et du v\u0026eacute;g\u0026eacute;tal dans l\u0026#39;art belge contemporain\u003c/em\u003e, Brussel, Atelier 340, 1985, p. 264\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":43,"name":"Jacques Lizène","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}