[{"id":554,"title":"The Pursuit of Happiness","dimensions":"00:12:00","date_begin":"2002-01-01","material":"35 mm, dvd","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"Courtesy of the artist and Zerynthia, Rome","cached_tag_list":"","publishing_process_id":1,"annotation":" 'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 170-171\r\nSee: [series of collages](http://ensembles.mhka.be/items/joe-hill-s-collages) by Joe Hill given away to extras of this film in 2002.\r\nCurrently in the artist's storage: Grossgörschenstrasse 6, 10827 Berlin, Schöneberg, Germany.","date_end":null,"reference":"","stream_count_app":72,"permalink":"the-pursuit-of-happiness","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/582/large/durham%EF%80%A2poursuite%EF%80%A22.jpg?1313763896","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"A young man collects garbage from the ground in what looks like an American highway. Next, we see the same garbage pieces assembled on collages hanging on the walls of a gallery during a vernissage. The young man collects two big chunks of money from the gallerist, burns up his trailer and boards on a plane to France.\r\n\r\nThe *Pursuit of Happiness* is listed as one of three \"unalienable rights\" in the U.S. Declaration of Independence, together with “life” and “liberty”."},{"locale":"nl","description":"Een jonge man verzamelt afval van de grond op wat er uitziet als een Amerikaanse snelweg. Vervolgens zien we diezelfde stukken afval gemonteerd in collages aan de muren van een galerie tijdens een vernissage. De jonge man krijgt twee grote pakken geld van de galeriehouder, steekt zijn caravan in brand en neemt het vliegtuig naar Frankrijk. \r\n\r\nHet \"streven naar geluk\" (*Pursuit of Happiness*) is een van de drie \"onvervreemdbare rechten\" in de Amerikaanse Onafhankelijkheidsverklaring, samen met “leven” en “vrijheid”."},{"locale":"fr","description":"Un jeune homme ramasse des détritus du sol dans ce qui ressemble à une autoroute états-unienne. À côté, on aperçoit les mêmes détritus assemblés en collages, accrochés aux murs d'une galerie lors d'un vernissage. Le jeune homme reçoit deux grosses liasses d'argent du galeriste, brûle sa remorque et embarque sur un vol à destination de la France.\r\n\r\nLa \"poursuite du bonheur\" (*Pursuit of Happiness*) est l'un des trois « droits inaliénables » stipulés dans la Déclaration d'Indépendance des États-Unis, avec la « vie » et la « liberté »."}]},{"id":551,"title":"La Malinche","dimensions":"168 x 56 x 84 cm","date_begin":"1988-01-01","material":"Wood, cotton, snakeskin, watercolour, polyester, metal","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":2,"collection":"Collection SMAK, Ghent","cached_tag_list":"","publishing_process_id":1,"annotation":"Currently in the possession of S.M.A.K. Gent (contact with Odeline van Thieghem).\r\nInsurance value: 37.500 euros. Owner has agreed to having the work photographed but not for commercial use. A courier of the S.M.A.K. should lead the installation of the work. Should be listed as belonging to Collection S.M.A.K., Stedelijk Museum voor Actuele Kunst, Gent. Work is crated: 72 x 200 x 76,5 cm. ","date_end":"1991-01-01","reference":"","stream_count_app":71,"permalink":"la-malinche","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/309/large/malinche%20%28c%29mta.jpg?1331125891","poster_credits":"(c)image: Maria Thereza Alves","translations":[{"locale":"en","description":"*La Malinche* was a Mexican woman who played an important role in the Spanish conquest of her country. Like Pocahontas in the U.S., Malinche was an indian who got married to the colonizer. She was one of the slaves of [Cortez](http://ensembles.mhka.be/items/552) and later his interpreter and mistress; their son was considered the first “mestizo”. This sculpture of La Malinche was assembled using a combination of elements: on the one hand, those typically associated to an “indian” identity, and on the other hand “western” elements like her panties and bra. These opposite poles function as parodies of stereotypes and a metaphor of Malinche’s ambiguous character.\r\n\r\n“It’s a true historical fact, about Cortez, the Spanish conquistador, and Malinche, the Indian woman” - says Jimmie Durham. “But it’s also such a story that it becomes myth as soon as it’s there. The mythical part that is important for us, for me is about what sort of self we have and what sort of other is the other.”\r\n\r\nThis artwork was first called *Pocahontas* at an [exhibition](http://ensembles.mhka.be/events/pocahontas-and-the-little-carpenter-in-london) in 1988, and later, reworked, became *La Malinche*, making a couple with the piece [Cortez](http://ensembles.mhka.be/items/552)."},{"locale":"nl","description":"*La Malinche* was een Mexicaanse vrouw die een belangrijke rol heeft gespeeld in de Spaanse verovering van haar land. Net als Pocahontas in de VS, was Malinche een indiaanse die trouwde met de kolonisator. Ze was een van de slaven van [Cortez](http://ensembles.mhka.be/items/552) en later zijn tolk en minnares; hun zoon werd beschouwd als de eerste 'mestizo'. Dit beeld van La Malinche is samengesteld uit verschillende  elementen: aan de ene kant elementen die meestal geassocieerd worden met een 'Indiaanse' identiteit en aan de andere kant 'westerse' elementen, zoals haar slipje en beha. Deze tegengestelde polen functioneren als parodieën op stereotypen en als metafoor voor het ambigue karakter van Malinche.\r\n\r\n'Het is een waargebeurd historisch feit, over Cortez, de Spaanse conquistador, en Malinche, de Indiaanse', zegt Jimmie Durham. 'Maar het is ook zo'n verhaal dat een mythe wordt zodra het er is. Het mythische deel, dat voor ons belangrijk is, gaat voor mij over welk soort zelf we hebben en welk soort andere de andere is'.\r\n\r\nDit kunstwerk werd eerst, op een [tentoonstelling](http://ensembles.mhka.be/events/pocahontas-and-the-little-carpenter-in-london) in 1988, *Pocahontas* genoemd. Later werd het, in herwerkte vorm, *La Malinche*. Zo vormde het een paar met het werk [Cortez](http://ensembles.mhka.be/items/552)."},{"locale":"fr","description":"*La Malinche* était une Mexicaine qui a joué un rôle important dans la conquête espagnole du pays. À l’instar de Pocahontas aux États-Unis, Malinche était amérindienne et a partagé la vie d’un colonisateur. Elle était l'une des esclaves de [Cortez](http://ensembles.mhka.be/items/552), et plus tard son interprète et sa maîtresse ; leur fils était considéré comme le premier mestizo (métisse). Cette sculpture de La Malinche consiste en un assemblage d'éléments : d'une part, ceux que l'on associe d'habitude à l'identité « indienne » et d'autre part, des éléments « occidentaux » comme sa culotte ou son soutien-gorge. Ces pôles opposés parodient les stéréotypes et sont une métaphore du personnage ambiguë de Malinche.\r\n\r\n« L'union entre Cortez, le conquistador espagnol, et l'Amérindienne Malinche, est un fait historique », affirme Jimmie Durham. « Mais cette histoire devient aussitôt un mythe. La part mythique importante pour nous, pour moi, concerne quelle sorte de moi habite chacun de nous et quelle sorte d’autre est l’autre. »\r\n\r\nCette œuvre était d'abord intitulée Pocahontas présentée lors d'une [exposition](http://ensembles.mhka.be/events/pocahontas-and-the-little-carpenter-in-london) en 1988. Plus tard, Durham l'a retravaillée et renommée *La Malinche*, constituant un couple avec la sculpture [Cortez](http://ensembles.mhka.be/items/552)."}]},{"id":552,"title":"Cortez","dimensions":"225 x 145 x 52 cm","date_begin":"1991-01-01","material":"Metal, wood, PVC, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":1,"collection":"Collection SMAK, Ghent","cached_tag_list":"","publishing_process_id":1,"annotation":"Image Rights Dirk Pawels.\r\nCurrently in the possession of S.M.A.K. Gent (contact with Odeline van Thieghem).\r\nInsurance value: 37.500 euros. Owner has agreed to having the work photographed but only for non commercial use. A courier of the S.M.A.K. should lead the installation process of the work. Should be listed as belonging to Collectie S.M.A.K., Stedelijk Museum voor Actuele Kunst, Gent. Work is crated: 107 x 172 x 117 cm.","date_end":"1991-01-01","reference":"","stream_count_app":41,"permalink":"cortez","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/900/large/Cortez.jpg?1320316071","poster_credits":"(c)image: Dirk Pauwels","translations":[{"locale":"en","description":"The Spanish conquerer Cortez (Hernán Cortés), portrayed here by Durham as a metallic soldier made of objects and machine parts, pipes and a mask, was the lover of [*La Malinche*](http://ensembles.mhka.be/items/551) and one of the first settlers in the American continent. According to the artist, “[Tzvetan Todorov](http://en.wikipedia.org/wiki/Tzvetan_Todorov) tried to explain that Cortez became a modern man by the curious intention of discovering (and therefore conquering) America, unlike Columbus who intended only to prove that his previous knowledge was correct (and therefore force the New World to be old)” [full text [here](http://ensembles.mhka.be/items/3168)]"},{"locale":"nl","description":"De Spaanse veroveraar Cortez (Hernán Cortés), hier door Durham geportretteerd als een metalen soldaat, gemaakt van objecten en machineonderdelen, buizen en een masker, was de geliefde van [*La Malinche*](http://ensembles.mhka.be/items/551) en een van de eerste kolonisten op het Amerikaanse continent. Volgens de kunstenaar  'probeerde [Tzvetan Todorov](http://nl.wikipedia.org/wiki/Tzvetan_Todorov) uit te leggen dat Cortez een moderne man werd door zijn nieuwsgierige intentie om Amerika het ontdekken (en dus te veroveren), in tegenstelling tot Columbus, die alleen wou bewijzen dat zijn voorgaande kennis juist was (en de Nieuwe Wereld dus wou dwingen om oud te zijn).' [volledige tekst [hier](http://ensembles.mhka.be/items/3168)]"},{"locale":"fr","description":"Durham brosse ici un portrait du conquistador espagnol Cortez (Hernán Cortés) en soldat métallique, composé d'objets divers, d'éléments de machines, de tuyaux et d'un masque. Cortez était l'amant de [*La Malinche*](http://ensembles.mhka.be/items/551) et l'un de premiers colons du continent américain. Selon Durham, l'intellectuel [Tzvetan Todorov](http://fr.wikipedia.org/wiki/Tzvetan_Todorov) a tenté d'expliquer que Cortés est devenu un homme moderne par l'intention curieuse de découvrir (et par conséquent de conquérir) l'Amérique, contrairement à Christophe Colomb qui cherchait uniquement à prouver l'exactitude de sa connaissance précédente (et a par conséquent forcé le Nouveau Monde à être ancien) ». [texte intégral [ici](http://ensembles.mhka.be/items/3168)]"}]},{"id":2834,"title":"Detour over Rome","dimensions":"","date_begin":"2009-01-01","material":"","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":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":22,"permalink":"detour-over-rome","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/680/large/IMG_0027.JPG?1323270198","poster_credits":null,"translations":[{"locale":"en","description":"In 2009, Jimmie Durham installed a long chain of PVC tubes in the *Acquario Romano* in Rome. The chaotic parcours started in the garden of the *Acquario*, where, as if emerging out of a big stone, the pipes went through the patio and around the building while their diameter got smaller. The PVC tube went through a window into the building and continued on the walls of the library onto the café. The title *Detour Over Rome* refers to the travels of artists to Rome in the XIX Century."},{"locale":"nl","description":"In 2009 installeerde Jimmie Durham een lange ketting pvc-buizen in het *Acquario Romano* in Rome. Het chaotische parcours ving aan in de tuin van het *Acquario*. Alsof ze uit een grote steen ontsproten, gingen de buizen over de patio en rond het gebouw, terwijl hun diameter almaar kleiner werd. De pvc-buis penetreerde door een raam in het gebouw en liep verder over de muren van de bibliotheek naar het café. De titel *Detour Over Rome* verwijst naar de Romereizen van kunstenaars in de 19e eeuw. "},{"locale":"fr","description":"En 2009, Jimmie Durham installe une longue chaîne de tuyaux en PVC dans l’*Acquario Romano* à Rome. Le parcours chaotique commence dans le jardin de l’*Acquario*, où les tuyaux, comme émergeant d’une grande pierre, traversent le patio et encerclent le bâtiment alors que leur diamètre devient plus petit. Puis le tuyau en PVC entre dans le bâtiment par la fenêtre et continue sa trajectoire le long des murs de la bibliothèque jusqu’au café. Le titre, *Detour over Rome* fait référence au voyage à Rome qu’ont effectué tant d’artistes au XIXe siècle."}]},{"id":2845,"title":"The Seven Directions","dimensions":"","date_begin":"2004-01-01","material":"","short_description":"Permanent installation at Sámi Court House at Tana, Norway","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"Permanent piece for the Sámi Courthouse at Tana, Norway.","date_end":null,"reference":"","stream_count_app":41,"permalink":"the-seven-directions","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/764/large/DSCF0001.JPG?1323344827","poster_credits":"image: (c)Tryggve Labahå","translations":[{"locale":"en","description":"\"A couple of years ago I was invited to make a permanent new work as part of the first Sami courthouse in Norway, in the town of Tana on the Tana River. I stayed a month making it, again perfect sunny warm weather, but the sun never once went down. I spoke with many people, again learned much that I’d not before thought of. Again saw how racism had made people (local Norwegians) dirty and stupid, proud and arrogant.\r\n\r\nThe opening of the new courthouse, and of my work, was attended by the king and queen of Norway, who received a strong lecture from the Sami judge. One is embarrassed in the presence of people who have something wrong with them: incontinence, extreme neuroses, etc. I am always embarrassed around people who agree to be subject to a king or queen.\" [full text [here](http://ensembles.mhka.be/items/172-untitled)]"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":610,"title":"Untitled","dimensions":"128 x 36 x 25 cm","date_begin":"1970-01-01","material":"Mahogony, glass marbles","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":1,"collection":"Private collection, Geneva","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"Currently in the possession of Danielle Fiard, Genève, Switzerland. Image rights: Ilmari Kalkkinen (which photo?)","date_end":null,"reference":"","stream_count_app":24,"permalink":"untitled--6","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/085/large/Totem_profil.jpeg?1332752136","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":628,"title":"Pocahontas' Underwear","dimensions":"31 x 25 cm","date_begin":"1985-01-01","material":"feathers, beads, fabric, fasteners","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":1,"collection":"Private Collection, Belgium","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"Currently in the possession of Stichting Ellipse Foundation, Alcabideche, Lissabon.\r\nInsurance value: 8.000 euros. ","date_end":"1985-01-01","reference":"","stream_count_app":27,"permalink":"pocahontas-underwear","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/436/large/Pocachontas_Underwear_JimmieDurham.jpeg?1306144378","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"\"Every place I go in Europe, the children like me, and to be nice to me they give me drawings of Pocahontas because they have just seen the movie. And I don’t like the movie *Pocahontas*. It is very much against me. It’s a movie that denies my history in very urgent ways, but it’s also a movie that continues to implant a Hollywood definition of me that is so strong nowadays that I can’t address the issue. \r\n\r\nI cannot go to every art opening in Italy and once more explain that not all Indians are from New Mexico, that some Indians have blue eyes and a thousand other stories. I can’t defend a reality that everyone knows is not the reality because everyone knows that the Hollywood reality *is* the reality.\" [full text [here](http://ensembles.mhka.be/items/3184)]"},{"locale":"nl","description":"\"Op elke plaats waar ik naartoe ga in Europa, vinden de kinderen me leuk, en om lief tegen me te zijn geven ze me tekeningen van Pocahontas, omdat ze net de film gezien hebben. En ik hou niet van de film *Pocahontas*. Hij gaat heel hard in tegen wat ik ben. Het is een film die op zeer hardnekkige wijze mijn geschiedenis ontkent, maar het is ook een film die een Hollywood-definitie van mij blijft inprenten die vandaag zo sterk is dat ik de kwestie niet kan aankaarten.\r\n\r\nIk kan niet naar elke opening in Italië gaan en nog maar eens uitleggen dat niet alle indianen uit New Mexico komen, dat sommige indianen blauwe ogen hebben en duizend andere verhalen. Ik kan geen realiteit verdedigen waarvan iedereen weet dat het de realiteit niet is, omdat iedereen weet dat de Hollywoodrealiteit de realiteit is.\" [Volledige tekst [hier](http://ensembles.mhka.be/items/3184)]"},{"locale":"fr","description":"« Partout où je me rends en Europe, les enfants m'aiment bien et pour être gentils, ils me donnent des dessins des Pocahontas parce qu'ils viennent de voir le dessin animé. Or je n'aime pas le film de *Pocahontas*. Il s'en prend très fort à moi. Non seulement ce film nie obstinément mon histoire, mais il continue à inculquer une définition hollywoodienne de moi qui est si forte de nos jours que je ne peux pas aborder la question.\r\n\r\nJe ne peux pas aller à tous les vernissages d'Italie et expliquer une fois de plus que tous les Indiens ne sont originaires du Nouveau-Mexique, que certains Indiens ont les yeux bleus et mille autres histoires. Je ne peux pas défendre une réalité dont tout le monde sait qu'elle n'est pas la réalité parce que chacun sait que la réalité de Hollywood est la réalité. » [texte intégral [ici](http://ensembles.mhka.be/items/3184)]"}]},{"id":630,"title":"Untitled","dimensions":"85 x 195 x 85 cm","date_begin":"1972-01-01","material":"black granite, iron","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":2,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2012-01-01","reference":"","stream_count_app":15,"permalink":"untitled--7","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/208/large/Durham_Jimmie__scan_book%284%29.jpg?1336638073","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":627,"title":"The Two Johns","dimensions":"54 x 61 x 6 cm","date_begin":"1988-01-01","material":"Wood, paint","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":1,"collection":"Collection of Robin Klassnik, Matt's Gallery, London","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"Currently in the possession of Robin Klassnik (directeur Matt's Gallery), London, U.K.\r\nInsurance value: 50.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational purpose. Should be listed as: courtesy of Robin Klassnik, Matt's Gallery, London. ","date_end":"1988-01-01","reference":"","stream_count_app":26,"permalink":"the-two-johns","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/485/large/DSC_0571.jpg?1337780809","poster_credits":"(c) image: M HKA","translations":[{"locale":"en","description":"In the exhibition [*Pocahontas and the Little Carpenter*](http://ensembles.mhka.be/events/65), in London (1988), a small sculpture of a boy on a children's stool stood besides Pocahontas (a piece which later became [*La Malinche*](http://ensembles.mhka.be/items/551)). *The Two Johns* refers to John Smith and John Rolfe, both Englishmen, key characters in the story of the Cherokee legend Pocahontas. The first John had been captured by Indians and was saved by Pocahontas. She was then herself captured by the English, converted to Christianity, and ended up getting married to a tobacco planter, John Rolfe."},{"locale":"nl","description":"In de tentoonstelling [*Pocahontas and the Little Carpenter*](http://ensembles.mhka.be/events/65), in Londen (1988), stond een klein sculptuur van een jongen op een kinderstoel naast Pocahontas (een werk dat later [*La Malinche*](http://ensembles.mhka.be/items/551) werd). *The Two Johns* verwijst naar John Smith en John Rolfe, allebei Engelsen, sleutelfiguren in het verhaal van de Cherokeelegende Pocahontas. De eerste John was gevangengenomen door de indianen en gered door Pocahontas. Ze werd dan vervolgens zelf gevangengenomen door de Engelsen en bekeerd tot het Christendom, en ze huwde ten slotte een tabakboer, John Rolfe."},{"locale":"fr","description":"Dans l'exposition [*Pocahontas and the Little Carpenter*](http://ensembles.mhka.be/events/65), à Londres, en 1988, une petite sculpture représentant un garçon sur un tabouret d'enfant est placée derrière Pocahontas (une pièce devenue par la suite [La Malinche](http://ensembles.mhka.be/items/551)). The Two Johns fait référence à John Smith et John Rolfe, deux Anglais, des personnages clés dans l'histoire de la légende cherokee de Pocahontas. Le premier John fut capturé par les Indiens et sauvé par Pocahontas. Celle-ci fut ensuite capturée par les Anglais, convertie au christianisme et a fini mariée à un planteur de tabac, John Rolfe. "}]},{"id":629,"title":"Footnote","dimensions":"10 x 31 x 7 cm","date_begin":"1989-01-01","material":"bronze, chain, card","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":2,"collection":"Private Collection, Belgium","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"Text on the attached note: ‘At first I was shocked and angry’, said Tomio Kaiya, who makes and sells Dinosaur cookies, ‘I learned the news about the dinosaur only this morning when I read the newspaper…’\r\nInsurance value: 10.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational purpose. Should be listed as belonging to a private collection. ","date_end":"1989-01-01","reference":"","stream_count_app":32,"permalink":"footnote","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/201/large/Durham_Jimmie___Footnote__1989-2.jpg?1336636925","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"A bronze sculpture in the form of a foot is not a foot, in the same way that a footnote is not a note attached to a foot. Jimmie Durham shows us in *Footnote* the absurdity of language and takes a metaphor literally in the form of a visual pun. “When we first became humans”, said Durham in an [interview](http://ensembles.mhka.be/items/3175) with Beverly Koski and Richard Hill, “and when we first started attempting to use language, we began using metaphor—and then we went crazy and we’ve been crazy ever since. As soon as you invent metaphor, and therefore language, everything reminds you of everything else and that’s crazy. That’s the human condition, but it’s really a sickness for artists though, isn’t it?”\r\n\r\nThe text on the note attached to the bronze foot reads: ‘At first I was shocked and angry’, said Tomio Kaiya, who makes and sells Dinosaur cookies, ‘I learned the news about the dinosaur only this morning when I read the newspaper…’"},{"locale":"nl","description":"Een bronzen sculptuur in de vorm van een voet is geen voet, net zoals een voetnoot geen briefje is dat aan een voet werd vastgemaakt. In *Footnote* toont Durham ons de absurditeit van taal en neemt hij een metafoor letterlijk, in de vorm van een visuele woordspeling. 'Toen we voor het eerst mens werden', zegt Durham in een [interview](http://ensembles.mhka.be/items/3175) met Beverly Koski en Richard Hill, 'en toen we voor het eerst een poging deden om taal te gebruiken, begonnen we metaforen te gebruiken – en toen werden we gek en we zijn nog steeds gek. Zodra je metaforen, en dus taal, verzint, doet alles je aan al de rest denken en dat is gek. Dat is de menselijke conditie, maar voor kunstenaars is het echt een ziekte, niet?'\r\n\r\nDe tekst op het briefje aan de bronzen voet luidt: '“Eerst was ik geschokt en kwaad”, zei Tomio Kaiya, producent en verkoper van Dinosauruskoekjes, “ik vernam het nieuws over de dinosaurus pas vanochtend toen ik de krant las...”.'"},{"locale":"fr","description":"Une sculpture en bronze en forme de pied n'est pas un pied, au même titre qu'une note de bas de page, dite « note de pied » en anglais, n'est nullement attachée à un pied. Dans l'œuvre *Footnote*, Jimmie Durham démontre l'absurdité du langage et interprète littéralement la métaphore sous la forme d'un jeu de mots. « Lorsque nous sommes devenus humains au début », dit Durham dans une [interview](http://ensembles.mhka.be/items/3175) accordée à Beverly Koski et Richard Hill, « et que nous avons commencé à utiliser le langage, nous avons d'emblée introduit la métaphore – et puis nous sommes devenus fous, et nous le sommes restés depuis. Dès que l'on invente une métaphore, et par conséquent un langage métaphorique, tout nous fait penser à tout, et ça, c'est de la folie. C'est la condition humaine, quoique ce soit aussi une véritable maladie d'artiste, n'est-ce pas ? »\r\n\r\nLe texte attaché au pied en bronze dit : « Au départ, j'étais choqué et en colère », a dit Tomio Kaiya, qui confectionne et vend des biscuits en forme de dinosaures, « j'ai appris la nouvelle à propos du dinosaure ce matin seulement, en lisant les journaux... »"}]},{"id":608,"title":"Untitled","dimensions":"12 x 58 cm","date_begin":"1970-01-01","material":"red and grey granite","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":2,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"","date_end":"1970-01-01","reference":"","stream_count_app":16,"permalink":"untitled--44","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/024/large/untitled%201970%20red%20and%20grey%20grnite.jpg?1329920604","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":612,"title":"New York Gitli","dimensions":"120 x 29 x 70 cm","date_begin":"1985-01-01","material":"Skull, braid, acrylic paint, shell, turquoise, metal","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":3,"collection":"Collection of Ines and Philippe Kempeneers, Belgium","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"Currently in the possession of Philippe Kempeneers, Deinze, Belgium. Has to be picked and demontaged up by two workmen. Insurance value: 75.000 euros. Owner has agreed to having the work photographed for catalogue, press, TV and educational purposes. Should be listed as belonging to Inéz a Philippe Kemepeers, Belgium.\r\n\r\nWork has to be de-assembled: skull is extremely fragile.","date_end":"1985-01-01","reference":"","stream_count_app":42,"permalink":"new-york-gitli","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/891/large/5.jpg?1320313865","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"Jimmie Durham lived in New York [from 1973 to 1987](http://ensembles.mhka.be/ensembles/jimmie-durham-1980-1993) and, after a period of exclusive engagement with American Indian issues, re-started making art in 1980. There, he made a few shows such as [*The Manhattan Festival of the Dead*](http://ensembles.mhka.be/items/1173) and [*A Matter of Life and Death and Singing*](http://ensembles.mhka.be/events/a-matter-of-life-and-death-and-singing), where artworks like *New York Gitli* and [*Tlunh Datsi*](http://ensembles.mhka.be/items/611) were exhibited. These two pieces, both made with ornamented animal skulls, are works where Durham mixes American identity with a Cherokee vocabulary (*gitli* means dog in Cherokee)."},{"locale":"nl","description":"Jimmie Durham woonde [van 1973 tot 1987](http://ensembles.mhka.be/ensembles/jimmie-durham-1980-1993) in New York en begon in 1980, na een periode van exclusief engagement voor de Amerikaans-indiaanse problemen, opnieuw kunst te maken. Hij had er een paar tentoonstellingen, zoals [*The Manhattan Festival of the Dead*](http://ensembles.mhka.be/items/1173) en [*A Matter of Life and Death and Singing*](http://ensembles.mhka.be/events/a-matter-of-life-and-death-and-singing), waar kunstwerken werden getoond als *New York Gitli* en [*Tlunh Datsi*](http://ensembles.mhka.be/items/611). In deze laatste twee werken, beide gemaakt met versierde dierenschedels, vermengt Durham de Amerikaanse identiteit  met een Cherokee-woordenschat (*gitli* betekent hond in het Cherokee)."},{"locale":"fr","description":"Jimmie Durham a vécu à New York [de 1973 à 1987](http://ensembles.mhka.be/ensembles/jimmie-durham-1980-1993). Après une période exclusivement consacrée à son engagement pour la cause des Amérindiennes, il reprend sa carrière artistique en 1980. Il réalise quelques expositions, comme [*The Manhattan Festival of the Dead*](http://ensembles.mhka.be/items/1173) et [*A Matter of Life and Death and Singing*](http://ensembles.mhka.be/events/a-matter-of-life-and-death-and-singing), où il  expose des œuvres comme *New York Gitli* et [*Tlunh Datsi*](http://ensembles.mhka.be/items/611). Dans ces deux pièces, toutes deux ornementées de crânes d'animaux, Durham conjugue l'identité états-unienne et un vocabulaire cherokee (*gitli* signifie chien en langue cherokee)."}]},{"id":550,"title":"Language is a tool for communication like a city or a brain","dimensions":"360 x 510 mm","date_begin":"1991-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"lithography","publishing_process_id":1,"annotation":"\u003cp\u003eDe installatie omvat een koffer met daarop een druk met de tekst \u0026#39;language is a tool for communication like a city or a brain\u0026#39;.\u003cbr /\u003e\r\nPrint inv.no\u0026nbsp;M00434\u003c/p\u003e\r\n","date_end":"1992-01-01","reference":"S0301 and M00434 (print)","stream_count_app":47,"permalink":"language-is-a-tool-for-communication-like-a-city-or-a-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":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/316/large/JD159-1992-2.jpg?1317588079","poster_credits":"Courtesy kurimanzutto, Mexico City","translations":[{"locale":"en","description":""},{"locale":"nl","description":"\u003cp\u003eJimmie Durham is beeldend kunstenaar, performer, schrijver en dichter. Zoals vaker voorkomt in zijn oeuvre is ook dit werk een samenstelling van enerzijds een alledaags voorwerp uit onze leefwereld en anderzijds een geschreven tekst. Het geheel wordt op een ongewone manier getoond in de museale ruimte. Op de grond ligt een blauwgroene reiskoffer. Hierop bevindt zich een tekenpapier met de in potlood geschreven tekst: \u0026lsquo;language is a tool for comunication like a city or a brain\u0026rsquo;. De belangrijkste woorden; woorden met betekenis zijn in hoofdletters, tussenwoorden in kleine letter. De tekst \u0026ldquo;language is a tool for communication like a city or a brain\u0026rdquo; hoorde oorspronkelijk bij een aantal gesculpteerde mensfiguren. Ze stonden op een hoopje bijeen in een blok met koffers op de grond. Hier tegenover stonden vrije dieren, elk met een eigen boodschap. Zoals in vele andere werken van Durham (o.a. Gilgamesh), ziet men ook hier de tegenstelling tussen enerzijds cultuur, stad en beschaving en anderzijds natuur, woud, primitiviteit. Language is a tool for communication like a city or a brain zoals hier gepresenteerd, belicht het aspect cultuur en bevraagt deelaspecten hiervan. Het kunstwerk is geen uniek exemplaar, het is bewust op een hogere oplage gebracht en tegen een lagere prijs (1000 BEF) dan toen voor edities gebruikelijk was verkocht, om het wat onbetrouwbaar te maken.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":560,"title":"Himmelfahrt [Ascension]","dimensions":"29 x 55 cm","date_begin":"1992-01-01","material":"wood, iron, acrylic","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eCurrently in the possession of the M HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","date_end":"1992-01-01","reference":"S0308","stream_count_app":59,"permalink":"himmelfahrt-ascension","description_ru":"","description_de":"\u003cp\u003eDas deutsche Wort \u003cem\u003eFahren\u003c/em\u003e\u0026nbsp;bedeutet fortbewegen. Wenn man als Ausl\u0026auml;nder die Sprache eines Landes, in dem man sich eine Zeit lang aufh\u0026auml;lt, ein wenig zu verstehen beginnt, begegnet man manchmal zusammengesetzten W\u0026ouml;rtern, deren Bestandteile man w\u0026ouml;rtlich \u0026uuml;bersetzt. Durham hat ein St\u0026uuml;ck Holz in Form eines Berges geschlagen (mit dem Wort \u003cem\u003eHimmelfahrt\u003c/em\u003e\u003cem\u003e darunter\u003c/em\u003e), und darunter befindet sich ein alter Autoreifen. Er vermischt hier die zwei oben genannten Bedeutungen: die w\u0026ouml;rtliche Interpretation des \u0026bdquo;Unwissenden\u0026ldquo; (der Autoreifen) mit dem jahrhundertealten Inhalt (das St\u0026uuml;ck Holz f\u0026uuml;r den Olivenberg einerseits und die symbolische Erhebung des Berges mit dem Reifen darunter anstatt des L\u0026ouml;wen und den Drachen andererseits).\u003c/p\u003e\r\n","description_es":"","description_el":"\u003cp\u003e\u0026Kappa;ά\u0026pi;\u0026omicron;\u0026iota;\u0026omicron;\u0026sigmaf; \u0026pi;\u0026omicron;\u0026upsilon; \u0026xi;\u0026epsilon;\u0026kappa;\u0026iota;\u0026nu;ά \u0026nu;\u0026alpha; \u0026mu;\u0026alpha;\u0026theta;\u0026alpha;ί\u0026nu;\u0026epsilon;\u0026iota; \u0026mu;\u0026iota;\u0026alpha; \u0026kappa;\u0026alpha;\u0026iota;\u0026nu;\u0026omicron;ύ\u0026rho;\u0026gamma;\u0026iota;\u0026alpha; \u0026gamma;\u0026lambda;ώ\u0026sigma;\u0026sigma;\u0026alpha; \u0026sigma;\u0026upsilon;\u0026nu;\u0026alpha;\u0026nu;\u0026tau;ά \u0026lambda;έ\u0026xi;\u0026epsilon;\u0026iota;\u0026sigmaf; \u0026tau;\u0026iota;\u0026sigmaf; \u0026omicron;\u0026pi;\u0026omicron;ί\u0026epsilon;\u0026sigmaf; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026alpha;\u0026rho;\u0026chi;ή \u0026mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026phi;\u0026rho;ά\u0026zeta;\u0026epsilon;\u0026iota; \u0026kappa;\u0026alpha;\u0026tau;ά \u0026lambda;έ\u0026xi;\u0026eta;. \u0026Eta; \u0026gamma;\u0026epsilon;\u0026rho;\u0026mu;\u0026alpha;\u0026nu;\u0026iota;\u0026kappa;ή \u0026lambda;έ\u0026xi;\u0026eta; \u003cem\u003eFahren\u003c/em\u003e \u0026sigma;\u0026eta;\u0026mu;\u0026alpha;ί\u0026nu;\u0026epsilon;\u0026iota; \u0026laquo;\u0026epsilon;\u0026pi;\u0026iota;\u0026beta;\u0026alpha;ί\u0026nu;\u0026omega;\u0026raquo;. \u0026Omicron; \u0026Nu;\u0026tau;έ\u0026rho;\u0026alpha;\u0026mu; \u0026sigma;\u0026kappa;ά\u0026lambda;\u0026iota;\u0026sigma;\u0026epsilon; \u0026sigma;\u0026epsilon; έ\u0026nu;\u0026alpha; \u0026kappa;\u0026omicron;\u0026mu;\u0026mu;ά\u0026tau;\u0026iota; \u0026xi;ύ\u0026lambda;\u0026omicron; \u0026tau;\u0026eta; \u0026mu;\u0026omicron;\u0026rho;\u0026phi;ή \u0026epsilon;\u0026nu;ό\u0026sigmaf; \u0026beta;\u0026omicron;\u0026upsilon;\u0026nu;\u0026omicron;ύ, \u0026mu;\u0026epsilon; \u0026tau;\u0026eta; \u0026lambda;έ\u0026xi;\u0026eta; \u003cem\u003eHimmelfahrt\u003c/em\u003e (\u0026Alpha;\u0026nu;ά\u0026lambda;\u0026eta;\u0026psi;\u0026eta;) \u0026gamma;\u0026rho;\u0026alpha;\u0026mu;\u0026mu;έ\u0026nu;\u0026eta; \u0026sigma;\u0026tau;\u0026eta;\u0026nu; \u0026kappa;\u0026omicron;\u0026rho;\u0026upsilon;\u0026phi;ή. \u0026Alpha;\u0026pi;ό \u0026kappa;ά\u0026tau;\u0026omega; \u0026tau;\u0026omicron;\u0026pi;\u0026omicron;\u0026theta;έ\u0026tau;\u0026eta;\u0026sigma;\u0026epsilon; έ\u0026nu;\u0026alpha;\u0026nu; ά\u0026chi;\u0026rho;\u0026eta;\u0026sigma;\u0026tau;\u0026omicron; \u0026tau;\u0026rho;\u0026omicron;\u0026chi;ό \u0026alpha;\u0026upsilon;\u0026tau;\u0026omicron;\u0026kappa;\u0026iota;\u0026nu;ή\u0026tau;\u0026omicron;\u0026upsilon;. \u0026Mu;\u0026epsilon; \u0026alpha;\u0026upsilon;\u0026tau;ό \u0026tau;\u0026omicron;\u0026nu; \u0026tau;\u0026rho;ό\u0026pi;\u0026omicron;, \u0026sigma;\u0026upsilon;\u0026mu;\u0026pi;\u0026lambda;έ\u0026kappa;\u0026epsilon;\u0026iota; \u0026tau;\u0026iota;\u0026sigmaf; \u0026delta;ύ\u0026omicron; \u0026sigma;\u0026eta;\u0026mu;\u0026alpha;\u0026sigma;ί\u0026epsilon;\u0026sigmaf;: \u0026tau;\u0026eta;\u0026nu; \u0026kappa;\u0026upsilon;\u0026rho;\u0026iota;\u0026omicron;\u0026lambda;\u0026epsilon;\u0026kappa;\u0026tau;\u0026iota;\u0026kappa;ή (\u0026mu;έ\u0026sigma;\u0026omega; \u0026tau;\u0026omicron;\u0026upsilon; \u0026tau;\u0026rho;\u0026omicron;\u0026chi;\u0026omicron;ύ) \u0026kappa;\u0026alpha;\u0026iota; έ\u0026nu;\u0026alpha;\u0026nu; \u0026alpha;\u0026rho;\u0026chi;\u0026alpha;ί\u0026omicron; \u0026sigma;\u0026upsilon;\u0026nu;\u0026epsilon;\u0026iota;\u0026rho;\u0026mu;ό (\u0026tau;\u0026omicron; \u0026xi;ύ\u0026lambda;\u0026omicron; \u0026omega;\u0026sigmaf; \u0026alpha;\u0026nu;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;ά \u0026sigma;\u0026tau;\u0026omicron; ό\u0026rho;\u0026omicron;\u0026sigmaf; \u0026tau;\u0026omega;\u0026nu; \u0026Epsilon;\u0026lambda;\u0026alpha;\u0026iota;ώ\u0026nu;).\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","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":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/234/large/Durham,%20Jimmie,%20Himmelfahrt,%201992%20photo%20Jan%20Kempenaers.jpg?1304929538","poster_credits":"image© A4Avzw","translations":[{"locale":"en","description":"\u003cp\u003eA foreigner who is starting to learn a new language encounters words which he/she begins to translate literally. The German word \u003cem\u003eFahren\u003c/em\u003e\u0026nbsp;means \u0026#39;to ride\u0026#39;. Durham carved a piece of wood in the form of a mountain with the word *Himmelfahrt* (ascension) written on top. Underneath, he placed a discarded car wheel. In this way, he mixes the two meanings: the literal interpretation (the car wheel) with its ancient connotation (the wood representing the Mount of Olives).\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet Duitse woord \u003cem\u003eFahren\u003c/em\u003e\u0026nbsp;betekent rijden. Als je als buitenlander de taal van een land waar je een tijdje verblijft een beetje begint te kennen, kom je soms samengestelde woorden tegen waarvan je de delen dan letterlijk gaat vertalen. Durham heeft een stuk hout gekapt in de vorm van een berg (met eronder het woord \u003cem\u003eHimmelfahrt\u003c/em\u003e) en daaronder ligt een afgedankt autowiel. Hij vermengt hier de twee bovengenoemde betekenissen: de letterlijke interpretatie van de \u0026#39;niet-wetende\u0026#39; (het autowiel) met de eeuwenoude inhoud (het stuk hout voor de Olijfberg enerzijds en de symbolische opeenstapeling van de berg met onder zich het wiel, in de plaats van de leeuw en de draak, anderzijds).\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLe mot allemand \u003cem\u003eFahren\u003c/em\u003e\u0026nbsp;signifie \u0026#39;circuler\u0026#39;. En tant qu\u0026#39;\u0026eacute;tranger, lorsque vous commencez \u0026agrave; conna\u0026icirc;tre un peu la langue d\u0026#39;un pays o\u0026ugrave; vous r\u0026eacute;sidez un moment, vous \u0026ecirc;tes parfois confront\u0026eacute; \u0026agrave; des mots compos\u0026eacute;s dont vous allez traduire les diff\u0026eacute;rentes parties litt\u0026eacute;ralement. Durham a sculpt\u0026eacute; un bout de bois en forme de montagne (avec en dessous le mot \u003cem\u003eHimmelfahrt\u003c/em\u003e) et une roue de voiture mise au rebut se trouve en dessous. Il m\u0026eacute;lange ici les deux significations susmentionn\u0026eacute;es : l\u0026#39;interpr\u0026eacute;tation litt\u0026eacute;rale de \u0026#39;l\u0026#39;ignorant\u0026#39; (la roue de voiture) et le contenu s\u0026eacute;culaire (le bout de bois pour le Mont des Oliviers d\u0026#39;une part et la superposition symbolique de la montagne avec la roue en dessous, au lieu du lion et du dragon, d\u0026#39;autre part).\u003c/p\u003e\r\n"}]},{"id":559,"title":"Treff [Encounter]","dimensions":"215 x 205 x 107 cm","date_begin":"1992-01-01","material":"Wood, iron, acrylic paint","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":2,"collection":"Collection M HKA, Antwerp / donation of the artist (2004)","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eCurrently in the possession of the M HKA.\u003c/p\u003e\r\n","date_end":null,"reference":"S0307","stream_count_app":72,"permalink":"treff-encounter","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/236/medium_500/Durham%20Jimmie,%20Treff,%20Detail%20photo%20clinckx.jpg?1304929861","cached_actor_names":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/236/large/Durham%20Jimmie,%20Treff,%20Detail%20photo%20clinckx.jpg?1304929861","poster_credits":"© M HKA","translations":[{"locale":"en","description":"\u003cp\u003eThe work *Treff* (\u0026#39;Meeting\u0026#39;) was part of the ensemble [*An Approach in Love and Fear*](http://ensembles.mhka.be/items/2514) (Documenta IX, Kassel, Germany, 1992). In that ensemble, Durham showed elements from various historical periods that enter in a dialogue with each other, that meet each other. This artwork, a drawing on a cardboard bearing the word \u0026#39;Treff\u0026#39; is attached to a sculpture by means of two visible screws. Durham calls into question our fixed values regarding a painting: What does \u0026#39;finished\u0026#39; mean? How\u0026#39;s the work to be hung? What\u0026#39;s a frame? Which is the size of the painting within the frame?\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet werk *Treff* maakte deel uit van het ensemble [*An Approach in Love and Fear*](http://ensembles.mhka.be/items/2514) (Documenta IX, Kassel, 1992). Durham laat hier elementen uit diverse historische periodes met elkaar in dialoog gaan, ze treffen elkaar. Dit werk, een tekening op karton met daarop in houtskool het woord *Treff*, is bevestigd met twee zichtbare schroeven aan een sculptuur. Durham zet onze vaste waarden met betrekking tot een schilderij (wat is \u0026lsquo;af\u0026rsquo;, hoe moet de ophanging gebeuren, wat is een kader, de maat van het schilderij binnen de kader) op losse schroeven.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eL\u0026rsquo;\u0026oelig;uvre *Treff* faisait partie de l\u0026rsquo;ensemble [*An Approach in Love and Fear*](http://ensembles.mhka.be/items/2514), pr\u0026eacute;sent\u0026eacute; \u0026agrave; la Documenta\u0026nbsp;IX, \u0026agrave; Kassel, en 1992. Durham y fait entrer en dialogue des \u0026eacute;l\u0026eacute;ments de diverses p\u0026eacute;riodes qui se rencontrent. Ce dessin sur carton sur lequel on peut lire le mot Treff \u0026eacute;crit au fusain, est fix\u0026eacute; \u0026agrave; l\u0026rsquo;aide de deux vis apparentes \u0026agrave; une sculpture. Durham remet en question nos valeurs \u0026eacute;tablies par rapport \u0026agrave; un tableau\u0026nbsp;: quand est-il \u0026laquo;\u0026nbsp;achev\u0026eacute;\u0026nbsp;\u0026raquo;\u0026nbsp;? Comment faut-il l\u0026rsquo;accrocher\u0026nbsp;? Que doit \u0026ecirc;tre le cadre\u0026nbsp;? Quelle doit \u0026ecirc;tre la taille du tableau au sein du cadre\u0026nbsp;?\u003c/p\u003e\r\n"}]},{"id":611,"title":"Tlunh Datsi","dimensions":"103 x 91 x 81 cm","date_begin":"1985-01-01","material":"Skull, feathers, turquoise, acrylic paint, shells, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":3,"collection":"Private Collection, Belgium","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"\u003cp\u003eCollection Mimi Dusselier ? Puma skull. Currently in the possession of Mimi Dusselier, Meulebeke, Belgi\u0026euml;. The work is crated, and should be mentioned in the list as belonging to a private collection.\u003c/p\u003e\r\n","date_end":"1985-01-01","reference":"","stream_count_app":60,"permalink":"tlunh-datsi","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/433/medium_500/Tlunh%20datsi_Jimmie%20Durham_1985.jpg?1306139299","cached_actor_names":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/433/large/Tlunh%20datsi_Jimmie%20Durham_1985.jpg?1306139299","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"\u003cp\u003e*Tluhn Datsi* was one of the works exhibited in the first show called [*A Matter of Life and Death and Singing*](http://ensembles.mhka.be/events/386), in New York, 1985. In that period Jimmie Durham intentionally used ethnically coded references in his materials and vocabulary. *Tluhn datsi*, meaning \u0026ldquo;panther\u0026rdquo; in Cherokee, is made of a puma skull with shells, feathers and fur, resting on a wooden stand that says \u0026ldquo;POLICE DEPT\u0026rdquo;. Often asked about the question of identity in his work, Durham has said: \u0026ldquo;I\u0026rsquo;m accused, constantly, of making art about my own identity. I never have. I make art about the settler\u0026rsquo;s identity when I make political art. It\u0026rsquo;s not about my identity, it\u0026rsquo;s about the Americans\u0026rsquo; identity.\u0026rdquo; [watch the video bellow]\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e*Tluhn Datsi* was een van de werken in de eerste tentoonstelling onder de titel [*A Matter of Life and Death and Singing*](http://ensembles.mhka.be/events/386), in New York, 1985. In die periode gebruikte Durham met opzet etnisch gecodeerde verwijzingen in zijn materialen en vocabularium. *Tluhn datsi* betekent \u0026lsquo;panter\u0026rsquo; in het Cherokee. Het werk is gemaakt van een poemaschedel met schelpen, veren en vacht, en rust op een houten paneel met de letters \u0026ldquo;POLICE DEPT\u0026rdquo; (\u0026lsquo;politie\u0026rsquo;). Wanneer hij vragen kreeg over de kwestie van identiteit in zijn werk, antwoordde Durham: \u0026ldquo;Ik word voortdurend ervan beschuldigd dat ik kunst maak over mijn eigen identiteit. Dat heb ik nooit gedaan. Wanneer ik politieke kunst maak, maak ik kunst over de identiteit van de kolonisten. Het draait niet om mijn identiteit, het draait om de identiteit van de Amerikanen.\u0026rdquo; [Bekijk onderaan het filmpje]\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e*Tluhn Datsi* \u0026eacute;tait l\u0026rsquo;une des \u0026oelig;uvres de la premi\u0026egrave;re exposition intitul\u0026eacute;e [*A Matter of Life and Death and Singing*](http://ensembles.mhka.be/events/386), \u0026agrave; New York, en 1985\u0026nbsp;; une p\u0026eacute;riode pendant laquelle Durham use intentionnellement des r\u0026eacute;f\u0026eacute;rences ethniques cod\u0026eacute;es dans ses mat\u0026eacute;riaux et son vocabulaire. *Tlunh datsi* \u0026ndash; \u0026laquo;\u0026nbsp;panth\u0026egrave;re\u0026nbsp;\u0026raquo; en langue cherokee \u0026ndash; est compos\u0026eacute; d\u0026rsquo;un cr\u0026acirc;ne de puma, de coquillages, de plumes et de fourrure. Le tout repose sur un support en bois sur lequel on peut lire \u0026laquo;\u0026nbsp;POLICE DEPT\u0026nbsp;\u0026raquo;. Souvent interrog\u0026eacute; quant \u0026agrave; la question de l\u0026rsquo;identit\u0026eacute; dans son \u0026oelig;uvre, Jimmie Durham a affirm\u0026eacute;\u0026nbsp;: \u0026laquo;\u0026nbsp;On m\u0026rsquo;accuse constamment de faire de l\u0026rsquo;art \u0026agrave; propos de ma propre identit\u0026eacute;. Je ne l\u0026rsquo;ai jamais fait. Quand je fais de l\u0026rsquo;art politique, je fais de l\u0026rsquo;art \u0026agrave; propos de l\u0026rsquo;identit\u0026eacute; des colons. Il ne s\u0026rsquo;agit pas de mon identit\u0026eacute;, mais de l\u0026rsquo;identit\u0026eacute; \u0026eacute;tats-unienne.\u0026nbsp;\u0026raquo; [vous pouvez visionner la vid\u0026eacute;o ci-dessous]\u003c/p\u003e\r\n"}]},{"id":812,"title":"Die kleine Fulda","dimensions":"265 x 20 x 120 cm","date_begin":"1992-01-01","material":"pvc pipe","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":1,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"title: \"Die kleine Fulda\"?","date_end":null,"reference":"","stream_count_app":27,"permalink":"die-kleine-fulda","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/383/large/128_1992_Jimmie%20Durham_234.jpg?1317717201","poster_credits":null,"translations":[{"locale":"en","description":"This PVC construction was made specifically for Documenta IX in Kassel, Germany, where it emerged from the waters of the River Fulda. Find out more about this and other works shown by Durham on the same occasion [here](http://ensembles.mhka.be/items/2514)."},{"locale":"nl","description":"Deze pvc-constructie werd speciaal gemaakt voor Documenta IX in Kassel (Duitsland), waar ze uit de rivier de Fulda opdook. Lees [hier](http://ensembles.mhka.be/items/2514) meer over deze en andere werken die Durham bij dezelfde gelegenheid toonde."},{"locale":"fr","description":"Cette construction en PVC a été réalisée spécialement pour la Documenta IX à Kassel, en Allemagne, où elle émergeait de la berge de la rivière. Découvrez plus à propos de cette œuvre montrée par Durham à cette occasion [ici](http://ensembles.mhka.be/items/2514)."}]},{"id":809,"title":"The Cathedral of St. John the Divine","dimensions":"244 x 144 x 137 cm","date_begin":"1989-01-01","material":"Moose skull, wood, antler, paint, metal","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":2,"collection":"Collection of Dieter and Birgit Broska, Germany","cached_tag_list":"","publishing_process_id":1,"annotation":"Currently in the possession of Dieter Broska (Unterer Zwerchweg 80 55252, Mainz-Kastel, Germany).\r\nInsurance value: 120.000 euros. Owner has agreed to having the work photographed for press, TV, catalogue and educational purposes. Should be listed as belonging to Dieter and Birgit Broska. Extra note: owner requests that the work be photographed before transport and that there are two persons needed to take it down and to build it up again when returned.","date_end":null,"reference":"JD03","stream_count_app":34,"permalink":"the-cathedral-of-st-john-the-divine","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/408/large/166_1989_The%20Cathedral%20of%20St%20John%20the%20Divine_JD03.jpg?1317729948","poster_credits":"image (c) Exit Art, New York","translations":[{"locale":"en","description":"\"In 1985 a young British sculptor named Nicholas Fairplay had been brought to Manhattan Island to carve stone for the Cathedral of St. John the Divine. The intention for the Cathedral is that upon completion it will be the World’s Largest Cathedral, and we may assume that at peak production it will have an ever-changing billboard out front which will read, 'Over One Million Souls Saved.'\" [full text [here](http://ensembles.mhka.be/items/3174)]."},{"locale":"nl","description":"\"In 1985 werd Nicholas Fairplay, een jonge Britse beeldhouwer, naar Manhattan Island gebracht om steen te kappen voor de kathedraal St. John the Divine. Het is de bedoeling dat de kathedraal bij haar voltooiing de Grootste Kathedraal ter Wereld zal zijn, en we mogen aannemen dat wanneer ze op volle toeren draait haar gevel een steeds veranderend billboard zal hebben: ‘Meer dan een miljoen zielen gered'.\" [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/3174)]"},{"locale":"fr","description":"« En 1985, un jeune sculpteur britannique nommé Nicholas Fairplay a été amené sur l'île de Manhattan pour sculpter dans la pierre de la cathédrale St. John the Divine, qui avait l'ambition d'être la plus grande cathédrale au monde après son achèvement. Nous pouvons supposer qu'au point culminant de la production, elle présentera un panneau d'affichage frontal dont les informations varient en permanence et sur lequel on pourra lire : “Plus d'un million d'âmes sauvées”. » [texte intégral [ici](http://ensembles.mhka.be/items/3174)]"}]},{"id":805,"title":"Untitled (Squirrel)","dimensions":"127 x 63 x 28 cm","date_begin":"1991-01-01","material":"cast head, beads, paint, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":1,"collection":"Private Collection, The Netherlands","cached_tag_list":"","publishing_process_id":1,"annotation":"Collection Swagemakers ?","date_end":null,"reference":"","stream_count_app":32,"permalink":"untitled-squirrel","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/686/large/143_1991_Untitled_Animal%20head_beads_paint_wood_JD44.jpg?1323271184","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"*Untitled (Squirrel)* is one of the remaining pieces of a legendary exhibition from 1991 called *John Rollin Ridge, Zorro and the Joad Family Players* at *The Luggage Store* in San Francisco. That show was a right after a law had recently passed by the U.S. Congress which obliged American Indian artists to obtain a certificate of their “Indian-ness” in order to be allowed to exhibit. Read [here](http://ensembles.mhka.be/items/3215) Jimmie Durham’s ironic text in response to this law."},{"locale":"nl","description":"*Untitled (Squirrel)* is een van de werken die zijn overgebleven uit een legendarische tentoonstelling in *The Luggage Store* in San Francisco in 1991, getiteld *John Rollin Ridge, Zorro and the Joad Family Players*. Die tentoonstelling was een reactie op een wet die net door het Amerikaanse Congres was goedgekeurd en die Amerikaans-indiaanse kunstenaars verplichtte om een certificaat van hun 'Indiaan-zijn' te verkrijgen vooraleer te mogen exposeren. Lees [hier](http://ensembles.mhka.be/items/3215) Durhams ironische tekst als respons op deze wet."},{"locale":"fr","description":"*Untitled (Squirrel)* est l'une des œuvres qui reste de l'exposition légendaire de 1991 intitulée *John Rollin Ridge, Zorro and the Joad Family Players* au *Luggage Store* à San Francisco. Les œuvres de cette exposition répondent à une loi alors récemment votée au Congrès états-unien obligeant les artistes amérindiens à obtenir un certificat « d'indianité » pour avoir le droit d'exposer. Lisez [ici](http://ensembles.mhka.be/items/3215) le texte ironique de Jimmie Durham en réponse à cette loi."}]},{"id":829,"title":"Jimmie Durham - Amoxohtli, Libro de Carretera / A Road Book","dimensions":"20,9 cm x 15,8 cm","date_begin":"2011-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"ISBN 9783865609205, Koenig Books, London, 226 p., ill., Spanish, English, with DVD","date_end":null,"reference":"","stream_count_app":27,"permalink":"jimmie-durham-amoxohtli-libro-de-carretera-a-road-book","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/393/large/R0010318.JPG?1323099550","poster_credits":null,"translations":[{"locale":"en","description":"Available for consultation at [M HKA_library](http://www.muhka.be/verzamelt_beeldbib.php?la=en)"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":834,"title":"Self-Portrait","dimensions":"173 x 87 x 29 cm","date_begin":"1987-01-01","material":"canvas, wood, paint, feather, shell, turquoise, metal","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":4,"collection":"Collection of the Whitney Museum of American Art, New York","cached_tag_list":"","publishing_process_id":1,"annotation":"gift of Ken Chin. image (c): Maria Thereza Alves?","date_end":null,"reference":"JD56","stream_count_app":55,"permalink":"self-portrait","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/066/large/Durham_Jimmie___Self_Portrait_1987-2.jpg?1336637229","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"\"The *Self-Portrait* got to be very popular right away as soon as I made it. But I didn’t exactly make it on purpose. I made it because a gallery was doing a show of self-portraits and asked me to join. I said, 'Well I don’t do self-portraits, so I’m not going to do it' And they said, 'Come on, everybody is going to do it.' It was all minority artists doing things together. \r\n\r\nSo I had the idea as soon as I hung up the telephone: 'Okay, I’ll lie down on the floor and [Maria Thereza](http://ensembles.mhka.be/actors/maria-thereza-alves) can draw me on the canvas; then I’ll carve my face and see what else I will do...'\" [full text [here](http://ensembles.mhka.be/items/3194)]"},{"locale":"nl","description":"“Het *Self-Portrait* (Zelfportret) werd meteen na de creatie heel populair. Maar ik maakte het niet echt met opzet. Ik maakte het omdat een galerie een tentoonstelling met zelfportretten op touw zette, en me vroeg mee te doen. Ik zei: ‘Wel, ik doe geen zelfportretten, dus ik ga dit niet doen.’ En ze zeiden: ‘Komaan, iedereen doet mee.’ Het waren allemaal kunstenaars uit minderheden die samenwerkten.\r\n\r\nEn van zodra ik de telefoon inhaakte, kreeg ik het idee: ‘Oké, ik ga liggen op de vloer en [Maria Thereza](http://ensembles.mhka.be/actors/maria-thereza-alves) kan me tekenen op het canvas; en dan snij ik mijn gezicht uit en kijk ik wat ik nog kan doen…’” [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/3194)]"},{"locale":"fr","description":"« *Self-portrait*(Autoportrait) a d'emblée été très populaire, dès qu'il a été réalisé. Mais je ne l'ai pas vraiment fait exprès. Je l'ai produit parce qu'une galerie organisait une exposition d'autoportraits et m'a invité à y participer. J'ai répondu : “Mais, je ne fais pas d'autoportrait, donc je ne participerai pas.” Sur quoi, on m'a rétorqué : “Allons, tout le monde va le faire.” Tous étaient des artistes issus de minorités qui allaient réaliser des choses ensemble.\r\n\r\nAlors, dès que j'ai raccroché l'idée m'est venue : je vais m'allonger par terre et [Maria Thereza](http://ensembles.mhka.be/actors/maria-thereza-alves) pourra me dessiner sur la toile, ensuite je découperai mon visage et puis je verrai bien ce que je ferai encore... » [texte intégral [ici](http://ensembles.mhka.be/items/3194)]"}]},{"id":845,"title":"Smashing","dimensions":"00:92:00","date_begin":"2004-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":2,"collection":"Courtesy of the artist and Galerie Michel Rein, Paris","cached_tag_list":"","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 68-69. Image rights (stills): Maria Teresa Alves.\r\nCurrently in the artist's storage: Grossgörschenstrasse 6, 10827 Berlin, Schöneberg, Germany.","date_end":null,"reference":"AMVP 3253","stream_count_app":58,"permalink":"smashing","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/619/large/7a.durham.smashing.JPG?1314008084","poster_credits":"image(c) Maria Thereza Alves","translations":[{"locale":"en","description":"Wearing a suit, Jimmie Durham sits behind a desk like a bureaucrat performing his duty: smashing things. In an orderly manner, a person goes in, delivers an object, Durham smashes it with a [prehistoric stone stool](http://ensembles.mhka.be/items/865) - violently but impassively. He stamps and signs a piece of paper as receipt and gives it to the same person, who goes off-scene. The same order of events is repeated several times during 92 minutes.\r\n\r\nThis video-performance was part of Durham’s teaching residency at Fondazione Antonio Ratti in Como, Italy, in 2004."},{"locale":"nl","description":"Jimmie Durham zit in een kostuum achter een bureau en als een bureaucraat voert hij zijn taak uit: dingen verpletteren. Op een ordelijke manier komt iemand binnen en geeft hij of zij een voorwerp af, dat Durham - gewelddadig maar onbewogen - verplettert met een [prehistorisch, stenen stuk gereedschap](http://ensembles.mhka.be/items/865). Hij stempelt en ondertekent een blad papier als ontvangstbewijs, en geeft dat aan diezelfde persoon, die uit het scherm wandelt. Dezelfde opeenvolging van gebeurtenissen wordt tijdens de 92 minuten verschillende keren herhaald. \r\n\r\nDeze videoperformance was een onderdeel van Durhams doceerverblijf in Fondazione Antonio Ratti in Como, Italië, in 2004."},{"locale":"fr","description":"Jimmie Durham, vêtu d'un costume, est assis derrière un bureau tel un bureaucrate accomplissant son devoir : il fracasse des objets. De manière ordonnée, une personne entre, lui remet un objet que Durham fracasse avec violence, tout en demeurant impassible, à l'aide [d'un outil préhistorique en pierre](http://ensembles.mhka.be/items/865). Ensuite, Durham estampille et signe un récépissé qu'il remet à la personne et celle-ci s'en va. Ce même scénario se répète, avec d'autres personnes qui apportent d'autres objets pendant 92 minutes.\r\n\r\nCette performance vidéo faisait partie de la résidence d'enseignement à la Fondazione Antonio Ratti à Côme, en Italie, en 2004."}]},{"id":840,"title":"Encore tranquillité","dimensions":"150 x 860 x 860 cm","date_begin":"2008-01-01","material":"airplane, stone, chains","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":1,"collection":"Collection of the National Gallery of Canada, Ottawa","cached_tag_list":"","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 56-57\r\nImages (c) Roman März","date_end":null,"reference":"","stream_count_app":34,"permalink":"encore-tranquillite","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/720/large/renoult19-02-09-2.jpg?1308823811","poster_credits":"image: (c) Roman März","translations":[{"locale":"en","description":"\"The central piece in [Paris](http://ensembles.mhka.be/events/jimmie-durham-pierres-rejetees) will be a very large stone on a single- engine airplane. I made the work last summer in an old Russian airfield outside of Berlin, near the Polish border.  (...)\r\n\r\nThe airplane looks really grounded. But it also makes me a little nervous. I remember how, after [Sydney](http://ensembles.mhka.be/items/2279), the car pieces became popular—people enjoy seeing a car get what’s coming to it—and I ended up making a [few versions](http://ensembles.mhka.be/items/2228), which are similar in the way that paintings are similar. \r\n\r\nBut when [Christo and Jeanne-Claude](http://www.christojeanneclaude.net/) started wrapping things, they could not have known that they would spend the next 50 years going around the world looking for new and bigger things to wrap. I can imagine myself in a similar predicament—this phenomenon is so often equated with success. It can be relatively easy to find bigger ships, bigger airplanes, bigger boulders. A stoned Concorde might have a sense of appropriateness.\" [full text [here](http://ensembles.mhka.be/items/3212)]"},{"locale":"nl","description":"'Het centrale stuk in [Parijs](http://ensembles.mhka.be/events/jimmie-durham-pierres-rejetees) zal een zeer grote steen zijn op een eenmotorig vliegtuig. Ik maakte het werk afgelopen zomer op een oud Russisch vliegveld buiten Berlijn, vlakbij de Poolse grens. (…)\r\n\r\nHet vliegtuig ziet er echt onverstoorbaar uit. Maar het maakt me ook een beetje nerveus. Ik herinner me hoe, na [Sydney](http://ensembles.mhka.be/items/2279), de autowerken populair werden – mensen genieten ervan om te zien dat een auto krijgt wat hij verdient – en ik maakte uiteindelijk een [paar versies](http://ensembles.mhka.be/items/2228), die gelijkaardig zijn op dezelfde  manier waarop schilderijen gelijkaardig zijn.\r\n\r\nMaar toen [Christo en Jeanne-Claude](http://www.christojeanneclaude.net/) dingen begonnen in te pakken, konden ze niet weten dat ze de volgende 50 jaar zouden besteden aan het afreizen van de hele wereld op zoek naar nieuwe en grotere dingen om in te pakken. Ik zie mezelf al in een vergelijkbare hachelijke situatie – dit fenomeen wordt zo vaak gelijkgesteld met succes. Het moet relatief eenvoudig zijn om grotere schepen, grotere vliegtuigen, grotere keien te vinden. Een gestenigde Concorde is misschien wel gepast, in zekere zin.'\r\n[volledige Engelse tekst [hier](http://ensembles.mhka.be/items/3212)]"},{"locale":"fr","description":"« La pièce centrale à [Paris](http://ensembles.mhka.be/events/jimmie-durham-pierres-rejetees) sera une très grande pierre posée sur un avion monomoteur. J'ai réalisé l'œuvre l'été passé dans un ancien aérodrome russe en dehors de Berlin, près de la frontière polonaise. (…)\r\n\r\nL'avion a véritablement l'air retenu au sol. Mais cela me rend quelque peu nerveux. Je me rappelle la popularité de l'œuvre avec la voiture après [Sydney](http://ensembles.mhka.be/items/2279) – les gens aiment bien voir une voiture subir le sort qu'elle mérite. J'ai fini par faire quelques versions analogues, de la même manière que des tableaux peuvent être analogues.\r\n\r\nMais quand [Christo et Jeanne-Claude](http://www.christojeanneclaude.net/) ont commencé à emballer des choses, ils ne pouvaient pas savoir qu'ils allaient passer les 50 prochaines années à sillonner le monde pour trouver des choses nouvelles, plus grandes à emballer. Je peux m'imaginer dans une telle situation malencontreuse – ce phénomène est si souvent assimilé au succès. Il peut être relativement simple de trouver de plus grands bateaux, de plus grands avions, de plus grandes pierres. Un Concorde caillassé peut être approprié dans un certain sens. » [texte intégral en anglais [ici](http://ensembles.mhka.be/items/3212)]"}]},{"id":843,"title":"The Dangers of Petrification II","dimensions":"variable dimensions","date_begin":"1998-01-01","material":"paper, stone","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":"Courtesy de Pury \u0026 Luxembourg, Zurich","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 62-65","date_end":"2007-01-01","reference":"","stream_count_app":20,"permalink":"the-dangers-of-petrification-ii","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/807/large/JD2837-1.jpg?1328867277","poster_credits":null,"translations":[{"locale":"en","description":"\"*The Dangers of Petrification* is another new piece(...) which pretends to be a scientific collection of objects that have been petrified. I am a little hesitant about it, because most people nowadays have little knowledge about the real world. In fact, lately I’ve found that most people do not know that the process of petrification even exists, and that the cliché “petrified with fear” has led them to think that the word petrified relates only to a state of fear.\" [full text [here](http://ensembles.mhka.be/items/3212)]"},{"locale":"nl","description":"“*The Dangers of Petrification* (De gevaren van verstening) is een ander nieuw werk(…) dat pretendeert een wetenschappelijke verzameling te zijn van objecten die versteend zijn. Ik sta er een beetje weigerachtig tegenover, omdat de meeste mensen tegenwoordig weinig weten van de echte wereld. Ik heb onlangs eigenlijk vastgesteld dat de meeste mensen niet weten dat het proces van verstening bestaat, en dat het cliché ‘versteend van schrik’ hen deed geloven dat het woord ‘versteend’ slechts verwijst naar een staat van angst.” [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/3212)]"},{"locale":"fr","description":"« *The Dangers of Petrification* (les dangers de la pétrification) est une autre nouvelle pièce (…) qui se veut une collection scientifique d'objets ayant été pétrifiés. Je suis un peu hésitant à son sujet, car de nos jours, la plupart des gens n'ont que très peu de connaissance à propos du monde réel. En fait, récemment, j'ai découvert que la majorité des gens ignorent même que le processus de pétrification existe, et le cliché “pétrifié par la peur” les a menés à ne relier le terme de “pétrifié” qu'au seul état de peur. » [texte intégral [ici](http://ensembles.mhka.be/items/3212)]"}]},{"id":842,"title":"The Dangers of Petrification I","dimensions":"variable dimensions","date_begin":"1998-01-01","material":"stone, paper, knife, ceramics","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":"Courtesy de Pury \u0026 Luxembourg, Zurich","cached_tag_list":"","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 62-63\r\nCourtesy the artist and Jutta Nixdorf Art, Zurich","date_end":"2007-01-01","reference":"","stream_count_app":21,"permalink":"the-dangers-of-petrification-i","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/159/large/145-m.jpg?1316180202","poster_credits":"(c)image: Wilfried Petzi","translations":[{"locale":"en","description":"\"This piece began with a different kind of human craziness: the phenomenon of things reminding us of, or looking like, other things. Walking along, I pick up a stone. “This looks like a potato,” I say. Over years of walking around Europe, I have found a petrified slice of an apple, petrified pecorino, petrified pumpernickel, petrified cake, and various kinds of candy, among other curiosities. On the banks of the Po River, I found a petrified cloud.\" [full text [here](http://ensembles.mhka.be/items/3212)]"},{"locale":"nl","description":"“Dit werk begon met een andere vorm van menselijke waanzin: het fenomeen waarbij dingen ons herinneren aan, of lijken op, andere dingen. Terwijl ik wandel, raap ik een steen op. ‘Dit lijkt op een aardappel”, zeg ik. Tijdens jaren van wandelen door Europa heb ik gevonden: een versteend stuk appel, versteende pecorino, versteend roggebrood, versteende cake, en verschillende soorten snoep, en andere curiositeiten. Op de oevers van de rivier Po vond ik een versteende wolk.” [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/3212)]"},{"locale":"fr","description":"« Cette œuvre a commencé par une autre sorte de folie humaine : le phénomène de ressembler à quelque chose, de nous rappeler quelque chose. En me promenant, je ramasse une pierre. “Cela ressemble à une pomme de terre”, me dis-je. En me promenant à travers l'Europe au cours des années, j'ai trouvé une tranche de pomme pétrifiée, du pecorino pétrifié, du pumpernickel pétrifié, du cake pétrifié, divers bonbons pétrifiés, et autres curiosités. Sur les rives du Pô, j'ai trouvé un nuage pétrifié.\"[texte intégral [ici](http://ensembles.mhka.be/items/3212)]"}]},{"id":827,"title":"The Second Particle Wave Theory","dimensions":"26 cm x 21 cm","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Exhibition Catalogue","publishing_process_id":1,"annotation":"ISBN 1-894773-23-3, Walter Phillips Gallery, The Banff Centre/Art Editions North, School of Arts, Design, Media \u0026 Culture, University of Sunderland, Banff(Alberta, Canada)/Sunderland (UK), 79 p., ill., English","date_end":null,"reference":"","stream_count_app":8,"permalink":"the-second-particle-wave-theory--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/381/large/the_second_particle_wave.jpg?1337170669","poster_credits":null,"translations":[{"locale":"en","description":"Available for consultation at [M HKA_library](http://www.muhka.be/verzamelt_beeldbib.php?la=en)"},{"locale":"nl","description":"Te raadplegen in de [M HKA_bibliotheek](http://www.muhka.be/verzamelt_beeldbib.php?la=nl)"},{"locale":"fr","description":""}]},{"id":836,"title":"Jimmie Durham - Écrits et manifestes","dimensions":"20,5 cm x 14 cm, 163 p","date_begin":"2009-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"ISBN 9782840563037,","date_end":null,"reference":"","stream_count_app":8,"permalink":"jimmie-durham-ecrits-et-manifestes","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/386/large/ecrits_et_manifestes.gif?1337179802","poster_credits":null,"translations":[{"locale":"en","description":"Published by Beaux-arts de Paris, Paris\r\n\r\nAvailable for consultation at [M HKA_library](http://www.muhka.be/verzamelt_beeldbib.php?la=en)"},{"locale":"nl","description":"Uitgegeven door Beaux-arts de Paris, Paris\r\n\r\nTe raadplegen in de [M HKA_bibliotheek](http://www.muhka.be/verzamelt_beeldbib.php?la=nl)"},{"locale":"fr","description":""}]},{"id":828,"title":"Jimmie Durham - A Certain Lack of Coherence (Writings on Art and Cultural Politics)","dimensions":"21,4 cm x 14,6 cm","date_begin":"1993-01-01","material":"","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":"","cached_tag_list":"","publishing_process_id":1,"annotation":"ISBN 0-947753-04-4, Kala press, London, 255 p., ill., English","date_end":null,"reference":"","stream_count_app":10,"permalink":"jimmie-durham-a-certain-lack-of-coherence-writings-on-art-and-cultural-politics","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/711/large/ishot-224.jpg?1308746385","poster_credits":null,"translations":[{"locale":"en","description":"Available for consultation at [M HKA_library](http://www.muhka.be/verzamelt_beeldbib.php?la=en)"},{"locale":"nl","description":"Te raadplegen in de [M HKA_bibliotheek](http://www.muhka.be/verzamelt_beeldbib.php?la=nl)"},{"locale":"fr","description":""}]},{"id":831,"title":"Columbus Day","dimensions":"21,6 cm x 13,6 cm, 104 p","date_begin":"1983-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"ISBN 0-931122-30-9, West End Press, Minneapolis (Minnesota), 104 p., ill., English","date_end":null,"reference":"","stream_count_app":9,"permalink":"columbus-day","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":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/314/large/ninaserebrenick_20120515_093937_001.jpg?1337069310","poster_credits":null,"translations":[{"locale":"en","description":"\"Poems, Drawings and Stories about American Indian Life and Death in the Nineteen-Seventies\"\r\n\r\nPublished by West End Press, Minneapolis\r\n\r\nAvailable for consultation at [M HKA_library](http://www.muhka.be/verzamelt_beeldbib.php?la=en)"},{"locale":"nl","description":"\"Poems, Drawings and Stories about American Indian Life and Death in the Nineteen-Seventies\"\r\n\r\nUitgegeven door West End Press, Minneapolis\r\n\r\nTe raadplegen in de [M HKA_bibliotheek](http://www.muhka.be/verzamelt_beeldbib.php?la=nl)"},{"locale":"fr","description":""}]},{"id":830,"title":"Jimmie Durham - Between the Furniture and the Building (Between a Rock and a Hard Place)","dimensions":"22,9 cm x 15,5 cm","date_begin":"1998-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Artist Book ; Exhibition Catalogue","publishing_process_id":1,"annotation":"ISBN 3-88375-342-4, Kunstverein München/Verlag der Buchhandlung Walther König, München/Köln, 158 p., ill;, German, English, (Series : Kunstwissenschaftliche Bibliothek ; 9)","date_end":null,"reference":"","stream_count_app":9,"permalink":"jimmie-durham-between-the-furniture-and-the-building-between-a-rock-and-a-hard-place","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/387/large/between_the_.jpg?1337180005","poster_credits":null,"translations":[{"locale":"en","description":"Available for consultation at [M HKA_library](http://www.muhka.be/verzamelt_beeldbib.php?la=en)"},{"locale":"nl","description":"Te raadplegen in de [M HKA_bibliotheek](http://www.muhka.be/verzamelt_beeldbib.php?la=nl)"},{"locale":"fr","description":""}]},{"id":835,"title":"Articles 2 and 3 from the 1986 Pinkerton's Agency Manual","dimensions":"132 x 24 x 24 cm","date_begin":"1989-01-01","material":"Ceramic, wood, paper, polyester","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":2,"collection":"Collection Piet Vanrobaeys, Belgium","cached_tag_list":"","publishing_process_id":1,"annotation":"Currently in the possession of Piet van Robaeys, Belgium. Insurance value: 20.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational use. Should be listed as belonging to Collection Piet Vanrobaeys (Verzameling Piet Vanrobaeys). Maten: 169 x 24,5 x 16 cm (opstelling), pijl 140,5 x 9 x 1,5 cm; paneel 24,5 x 24,5 x 2 cm.","date_end":null,"reference":"","stream_count_app":35,"permalink":"articles-2-and-3-from-the-1986-pinkerton-s-agency-manual","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/312/large/pinkerton%20mta.jpg?1331128012","poster_credits":"(c) image: Maria Thereza Alves","translations":[{"locale":"en","description":"The Pinkerton National Detective Agency is a private law enforcement organization founded in 1850 in the United States. It has become famous for preventing a plot to assassinate Abraham Lincoln as well as for serving as a service for businessmen who in the 19th and early 20th century wanted to control and intimidate their employees. “In Ludlow, Colorado, sent a train-load of Pinkerton men to kill the striking miners. Mr. Rockefeller did it.”, reveals the text in Durham’s artwork [*Miscellaneous Ludlow Characters*](http://ensembles.mhka.be/items/1149). In the piece *Articles 2 and 3...*, Jimmie Durham articulates his commentary combining its political dimension with a cartoon-like sculpture and handwritten text, creating a complex and paradoxical statement."},{"locale":"nl","description":"Pinkerton National Detective Agency, gesticht in de VS in 1850, is een privé-instelling die de naleving van de wet bewaakt. Het agentschap voorkwam een moordplot op Abraham Lincoln, maar werd ook beroemd als dienst voor zakenmensen die, in de 19e en vroege 20e eeuw, hun werknemers wilden controleren en intimideren. “In Ludlow, Colorado, sent a train-load of Pinkerton men to kill the striking miners. Mr. Rockefeller did it.”, onthult de tekst in Durhams kunstwerk [*Miscellaneous Ludlow Characters*](http://ensembles.mhka.be/items/1149) (‘In Ludlow, Colorado, werd een hoop Pikertonmannen gestuurd om de stakende mijnwerkers te doden. Mr. Rockefeller deed dat.’). In het werk *Articles 2 and 3...*, spreekt Jimmie Durham zijn commentaar uit, een combinatie van de politieke dimensie met een cartooneske sculptuur en handgeschreven tekst. Zo creëert hij een complex en paradoxicaal statement."},{"locale":"fr","description":"La Pinkerton National Detective Agency (agence nationale de détective Pinkerton) est une organisation privée de maintien de l’ordre, fondée aux États-Unis en 1850. Elle est connue pour avoir déjoué une tentative d’assassinat d’Abraham Lincoln et pour avoir servi le patronat au XIXe et début du XXe siècle dans sa politique de contrôle et d’intimidation les salariés. « À Ludlow, dans le Colorado, Pinkerton a envoyé un fourgon d’agents tuer des mineurs en grève. À la demande de M. Rockefeller. » Voilà ce que nous révèle le texte de l’œuvre [*Miscellaneous Ludlow Characters*](http://ensembles.mhka.be/items/1149). Dans la pièce *Articles 2 and 3...*, Jimmie Durham articule ses commentaires en conjuguant leur dimension politique à une sculpture qui fait penser à de la bande dessinée et à du texte manuscrit, créant de la sorte un manifeste complexe et paradoxal."}]},{"id":866,"title":"I Forgot What I Was Going to Say","dimensions":"78 x 55 x 5 cm","date_begin":"1992-01-01","material":"Wood, metal, bone, paper, wire","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":1,"collection":"Courtesy Galerie Micheline Szwajcer, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"Currently in the possession of Dieter Broska (Unterer Zwerchweg 80 55252, Mainz-Kastel, Germany).\r\nInsurance value: 25.000 euros. The owner agreed to having the work photographed for catalogue, TV, press and educational purposes. Work should be listed as belonging to Dieter and Brigit Broska. Extra note: the sculpture is fragile and should be transported very carefully. ","date_end":null,"reference":"JD90","stream_count_app":33,"permalink":"i-forgot-what-i-was-going-to-say","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/402/large/110_1992_I%20forgot%20what%20I%20was%20going%20to%20say_JD90.jpg?1317727632","poster_credits":"(c)image: Philippe De Gobert","translations":[{"locale":"en","description":"A revolver, separated from its trigger by a piece of wood, has been rendered useless. As if in a surreal dream, the object is deprived from its basic function and gains subjectivity. It is paralyzed, lost for words, as the piece of paper gives in: “I forgot what I was going to say”.\r\n\r\nThis artwork was part of Jimmie Durham’s installation at the [Whitney Biennial in 1993](http://ensembles.mhka.be/events/326)."},{"locale":"nl","description":"Een revolver, met een stuk hout gescheiden van zijn trekker, is nutteloos gemaakt. Als in een surrealistische droom is het object beroofd van zijn primaire functie, en krijgt het subjectiviteit. Het is verlamd, zijn woorden kwijt, zoals het blaadje papier aangeeft: “*I forgot what I was going to say*” (ik ben vergeten wat ik wou zeggen).\r\n\r\nDit kunstwerk was een onderdeel van Jimmie Durhams installatie op de [Whitney Biënnale in 1993](http://ensembles.mhka.be/events/326).\r\n"},{"locale":"fr","description":"Un revolver, séparé de sa détente par une pièce de bois, a été rendu inutile. Comme dans un rêve surréaliste, l'objet est privé de sa fonction de base et gagne en subjectivité. Paralysé, les mots lui font défaut, comme l'admet le papier qui l'accompagne : « *I forgot what I was going to say* » (j'ai oublié ce que j'allais dire).\r\n\r\nCette œuvre faisait partie de l'installation de Jimmie Durham à la [Whitney Biennial en 1993](http://ensembles.mhka.be/events/326)."}]},{"id":859,"title":"Collected Stones","dimensions":"00:24:13","date_begin":"1995-01-01","material":"dvd","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":16,"stream_count":1,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":" 'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 86-89\r\n(Courtesy Galerie Michel Rein, Paris)\r\norigin: Christine König Galerie, Vienna.\r\nCurrently in Jimmie Durham's storage: Grossgörschenstrasse 6, 10827 Berlin, Schöneberg, Germany.\r\nEd. 10\r\ndvd PAL","date_end":"2002-01-01","reference":"","stream_count_app":90,"permalink":"collected-stones","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/454/large/Sequence%203.jpg?1323168621","poster_credits":null,"translations":[{"locale":"en","description":"Compilation of 13 of Jimmie Durham's videos (see linked items bellow) - in collaboration with Maria Thereza Alves.\r\n\r\n\"Maria Thereza Alves and I took a residency to make videos. For [one](http://ensembles.mhka.be/items/2368), I threw a stone through a shop window, from the inside out to the street. But the [first video](http://ensembles.mhka.be/items/2157) was about a stone sinking a boat: we found the stone, roughly the size of a basketball, on the beach; then I made the boat. There was no discomfort at all when it sank, probably because I had made it myself, and, more specifically, made it to have a brief moment of glory.\" [full text [here](http://ensembles.mhka.be/items/3212)]"},{"locale":"nl","description":"Compilatie van 13 video’s (zie *linked items* hieronder) door Jimmie Durham in samenwerking met Maria Thereza Alves.\r\n\r\n\"Maria Thereza Alves en ik namen deel aan een kunstenaarsresidentie om video’s te maken. Voor [eentje](http://ensembles.mhka.be/items/2368) gooide ik een steen door een winkelraam, van binnen naar buiten op straat. Maar de [eerste video](http://ensembles.mhka.be/items/2157) ging over een steen die een boot deed zinken: we vonden de steen, ongeveer zo groot als een basketbal, op het strand; vervolgens maakte ik de boot. Er heerste helemaal geen ongemakkelijk gevoel wanneer ze zonk, waarschijnlijk omdat ik haar zelf gemaakt had, en, meer specifiek, omdat ik haar gemaakt had voor een kort gloriemoment.\" [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/3212)]"},{"locale":"fr","description":"Une compilation de 13 vidéos (voir les *linked items* ci-dessous) par Jimmie Durham, avec la collaboration de Maria Thereza Alves.\r\n\r\n« Maria Thereza Alves et moi avons effectué une résidence pour réaliser des vidéos. Pour l'[une](http://ensembles.mhka.be/items/2368) d'entre elles, j'ai jeté des pierres à travers une vitrine de magasin, de l'intérieur vers la rue. Mais la [première vidéo](http://ensembles.mhka.be/items/2157) montrait une pierre qui fait sombrer un bateau : nous avons trouvé la pierre, environ de la taille d'une balle de basket-ball, sur la plage. Ensuite, j'ai construit le bateau. Je n'ai pas éprouvé de désagrément quand le bateau a sombré, sans doute parce que je l'avais construit moi-même, et plus spécifiquement pour qu'il connaisse un bref moment de gloire.\" [texte intégral [ici](http://ensembles.mhka.be/items/3212)]"}]},{"id":850,"title":"Types of Murder Weapons, by Maigret","dimensions":"61 x 61 cm","date_begin":"1993-01-01","material":"Wood, metal, pvc","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private Collection, Brussels","cached_tag_list":"","publishing_process_id":1,"annotation":" 'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 76-77.\r\nCurrently in the possession of Dirk Snauwaert, Belgium. \r\nInsurance value: 25.000 euros. Should be preconcerted with the artist wether or not the work can be photographed for catalogue, TV, press and educational purpose. Should be listed as belonging yo a private collection in Brussels. ","date_end":null,"reference":"","stream_count_app":28,"permalink":"types-of-murder-weapons-by-maigret","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/609/large/IMG_4088%20copie-2.jpg?1323261079","poster_credits":null,"translations":[{"locale":"en","description":"See [Types of Pipes, by Magritte](http://ensembles.mhka.be/items/848)"},{"locale":"nl","description":"Zie [Types of Pipes, by Magritte](http://ensembles.mhka.be/items/848)"},{"locale":"fr","description":"Voir [Types of Pipes, by Magritte](http://ensembles.mhka.be/items/848)"}]},{"id":2362,"title":"On Loan From the Museum of the American Indian","dimensions":"variable dimensions","date_begin":"1985-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":9,"stream_count":0,"collection":"Collection Roger Pailhas, Marseille","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"group exhibition at Kenkeleba Gallery, New York. Images (c) Maria Thereza Alves","date_end":null,"reference":"","stream_count_app":47,"permalink":"on-loan-from-the-museum-of-the-american-indian","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/060/large/on%20loan1.jpg?1327323002","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"\"I did a piece called *On Loan from the Museum of the American Indian*. Because we were a group of minority artists in New York City, fighting for... not recognition, not a place, but fighting exclusion and fighting the art agenda that was quite narrow of styles of art. And there is a *Museum of the American Indian* in New York City—that is what it is called. It’s such a funny title, as though there was one American Indian... *The Museum of the African*, they wouldn’t say that; *The Museum of the Jew* they wouldn’t say... They wouldn’t say it about someone else, this seems so funny to me. \r\n\r\nIf you say *the American Indian*, you mean all of us. So I took it to mean me, that I was the American Indian. I did a vitrine and I did put a photo of my parents–I called it *The Indian’s Parents (Frontal View)* —and another picture of my cousin, of my sister, *The Indian’s Sister*... But I didn’t mean it as autobiographical, I didn’t mean it talking about me, I did mean it talking about this funny museum up in Harlem down the custom’s house.\" [full text [here](http://ensembles.mhka.be/items/3194)]"},{"locale":"nl","description":"\"Ik maakte een werk met de titel *On Loan from the Museum of the American Indian* (In bruikleen van het Museum van de Amerikaanse Indiaan). Omdat we een groep kunstenaars uit minderheden waren in New York City, vechtend voor… niet voor erkenning, niet voor een plek, maar vechtend tegen uitsluiting en de kunstagenda bevechtend die zo beperkt was in kunststijlen. En er is een *Museum of the American Indian* in New York City – zo heet het echt. Het is zo’n grappige titel, alsof er één Amerikaanse indiaan was… Het *Museum van de Afrikaan*, dat zouden ze nooit zeggen; het *Museum van de Jood*, zouden ze nooit zeggen… Over niemand anders zouden ze dat zeggen, en dat vind ik zo grappig. \r\n\r\nAls je zegt ‘de Amerikaanse indiaan’, bedoel je ons allemaal. Dus ik dacht dat het over mij ging, dat ik de Amerikaanse indiaan was. Ik maakte een vitrine en plaatste er een foto van mijn ouders – ik noemde het \r\n*The Indian’s Parents (Frontal View)* – en een foto van mijn neef, van mijn zus, *The Indian’s Sister*... Maar ik bedoelde het niet autobiografisch, het ging niet over mij, het ging over dat grappige museum in Harlem bij het douanegebouw.” [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/3194)]"},{"locale":"fr","description":"« J'ai réalisé une œuvre intitulée *On Loan from the Museum of the American Indian* (Prêt du musée de l'Amérindien) parce que nous étions un groupe d'artistes issus des minorités à New York et que nous nous battions pour... non pas des négociations, ni une place, mais nous luttions contre l'exclusion et contre l'agenda artistique assez étriqué en matière de styles. Et il y a un *Musée de l'Amérindien* à New York – c'est ainsi que s'appelle ce musée. Drôle de nom, comme s'il n'y avait qu'un seul Amérindien... On n'aurait pas idée de dire le *Musée de l'Africain*, ou le *Musée du Juif*... On ne le dirait de personne d'autre, c'est ce qui me semble si drôle.\r\n\r\nL'Amérindien, cela signifie nous tous. Donc je l'ai interprété comme signifiant ma propre personne, comme si j'étais l'Amérindien. J'ai réalisé une vitrine et j'y mis une photo de mes parents – que j'ai appelée *Les Parents indiens (vue frontale)* – et une autre photo de mon cousin, de ma sœur, *La sœur indienne*... Mais je ne l'envisageais pas sous l'angle de l'autobiographie, je n'avais pas l'intention de parler de moi, je voulais parler de ce drôle de musée, là en haut à Harlem, en bas du Bureau des Douanes. » [texte intégral [ici](http://ensembles.mhka.be/items/3194)]"}]},{"id":856,"title":"Ketchup and Mustard","dimensions":"140 x 190 x 6 cm","date_begin":"1997-01-01","material":"condiments, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection of Andrea and Johannes Teiser, Germany","cached_tag_list":"","publishing_process_id":1,"annotation":" 'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 82-83\r\n1999?\r\nImage Rights: Boris Golz.\r\nAlso called: \"Where a Heavy Stone Fell on Tomato Sauce and Mustard\".\r\nWall piece.\r\n\r\nInsurance value: 50.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational purposes. ","date_end":null,"reference":"","stream_count_app":28,"permalink":"ketchup-and-mustard","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/229/large/Mustard%20and%20Ketchup_99.jpg?1322573978","poster_credits":"(c)image:Boris Golz","translations":[{"locale":"en","description":"Jimmie Durham has a particular method for making his 'lithographs', a term which literally means: printing using a stone. He has explored this technique [using several types and colours of paint](http://ensembles.mhka.be/items/2536) but also things such as tomato paste, toothpaste, mustard and ketchup. "},{"locale":"nl","description":"Jimmie Durham heeft een eigen methode voor het maken van een 'lithografie', een term die letterlijk betekent: drukken met een steen. Hij heeft die techniek verkend [met verschillende verftypes en kleuren](http://ensembles.mhka.be/items/2536) maar ook met tomatenpasta, tandpasta, mosterd en ketchup."},{"locale":"fr","description":"Jimmie Durham a une méthode particulière pour réaliser ses 'lithographies', un terme qui signifie littéralement imprimer en faisant usage une pierre. Il a exploré cette technique en [utilisant différents types de couleur et de peinture](http://ensembles.mhka.be/items/2536), mais aussi des matières comme du concentré de tomate, de la pâte dentifrice, de la moutarde ou du ketchup."}]},{"id":858,"title":"St. Frigo","dimensions":"132 x 60 x 60 cm","date_begin":"1996-01-01","material":"refrigerator","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":2,"collection":"Collection of DG Artes, Lisbon","cached_tag_list":"mixed media, performance","publishing_process_id":1,"annotation":" 'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 84-85\r\nImage Rights: Wilfried Petzi + Alves","date_end":null,"reference":"","stream_count_app":58,"permalink":"st-frigo","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/754/large/39392009-02-02J-DURHAM-.jpg?1314280520","poster_credits":"(c)Musée d’Art moderne de la Ville de Paris / Thierry Langro","translations":[{"locale":"en","description":"\"I don’t really destroy things, I just change them, I change their shape, just like any sculptor does. I chose the refrigerator. I stoned it for a week, every day, until I got the shape really changed. I chose it because I wanted to throw stones at something as sculptural work, but I wanted an object that no one would care about. I thought that if I stoned a TV or an automobile, everyone would be glad and care in some way or another, and I thought that a refrigerator was completely neutral. It was, until I started stoning it and then it wasn’t neutral anymore. Then it started being brave, so that in the end I called it *Saint Frigo*, because it was a martyr. I saved its life by making it a martyr. It was going into the trash, now it’s eternal, now it’s art.\" [full text [here](http://ensembles.mhka.be/items/4620)]\r\n"},{"locale":"nl","description":"\"Ik vernietig de dingen niet echt, ik verander ze gewoon, zoals elke andere beeldhouwer. Ik koos de koelkast. Ik stenigde hem een week lang, elke dag, tot ik de vorm echt veranderd kreeg. Ik koos hem omdat ik naar iets stenen wou gooien bij wijze van sculpturaal werk, maar ook een voorwerp wou waar niemand om zou geven. Ik dacht dat als ik een tv of auto zou stenigen, iedereen blij zou zijn en er op een of andere manier om zou geven, en ik dacht dat een koelkast volledig neutraal was. En dat was hij ook, tot ik hem begon te stenigen, en dan was hij niet neutraal meer. Dan begon hij dapper te worden, en dus noemde ik hem uiteindelijk *Saint Frigo* (Sint-Koelkast), want hij was een martelaar. Ik redde zijn leven door er een martelaar van te maken. Hij zou op de vuilnisbelt belanden, en nu is hij eeuwig, nu is hij kunst.” [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/4620)]"},{"locale":"fr","description":"« Je ne détruis pas vraiment les choses, je les transforme, je change leur forme, comme tout sculpteur. J'ai choisi le réfrigérateur. Pendant une semaine, je l'ai caillassé tous les jours jusqu'à ce que j'aie véritablement modifié sa forme. Je l'ai choisi parce que je voulais réaliser une œuvre sculpturale en jetant des pierres contre un objet, toutefois contre un objet dont personne ne se préoccupe. Si j'avais caillassé une télévision ou une automobile, par exemple, tout le monde serait content et se sentirait concerné de l'une ou l'autre façon, et j'ai pensé qu'un réfrigérateur était parfaitement neutre. E ça l'était, jusqu'à ce que je commence à le caillasser. Dès lors, il n'était plus neutre. Il a commencé à devenir courageux, et j'ai fini par le baptiser *Saint Frigo*, car c'était un martyr. Je lui ai sauvé la vie en en faisant un martyr. Il allait se retrouver à la décharge, à présent il est éternel. Maintenant, c'est de l'art. » [texte intégral [ici](http://ensembles.mhka.be/items/4620)]"}]},{"id":2369,"title":"Nature in the City: a Diary.","dimensions":"","date_begin":"2001-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"diary, Berlin","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"nature-in-the-city-a-diary","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in connection with the exhibition *4FREE* at Büro Friedrich, Berlin, 2000, and by Janus, no 7, 2000, pp.38–43"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2351,"title":"Oui / Pas Oui","dimensions":"9 x ","date_begin":"1996-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":23,"permalink":"oui-pas-oui","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/280/large/JD_1277.jpg?1336747442","poster_credits":null,"translations":[{"locale":"en","description":"*Oui/pas oui*, like [*Une machine désire de l'instruction comme un jardin désire de la discipline*](http://ensembles.mhka.be/items/1638), refers to the binary system of the lace-making machines in [Calais](http://ensembles.mhka.be/events/la-porte-de-l-europe-les-bourgeois-de-calais), France. Instead of the expected yes/no, Durham uses here explicitly yes/not yes, since in the Cherokee language the word “no” doesn’t exist. An example of that is that in order to say \"no water\" a Cherokee speaker would use the expression \"the water is all gone from here\"."},{"locale":"nl","description":"*Oui/pas oui* verwijst net als [*Une machine désire de l'instruction comme un jardin désire de la discipline*](http://ensembles.mhka.be/items/1638) naar het binaire systeem van de kantklosmachines in de Franse stad [Calais](http://ensembles.mhka.be/events/la-porte-de-l-europe-les-bourgeois-de-calais). In plaats van de verwachte ja/nee, gebruikt Durham hier expliciet ja/niet ja, want in het Cherokee bestaat het woord 'nee' niet. Om bijvoorbeeld 'geen water' te zeggen zou iemand die Cherokee spreekt de uitdrukking 'het water is helemaal weg van hier' gebruiken."},{"locale":"fr","description":"Oui/pas Oui, de même que [*Une machine désire de l'instruction comme un jardin désire de la discipline*](http://ensembles.mhka.be/items/1638), fait référence au système binaire des machines à tisser la dentelle à [Calais](http://ensembles.mhka.be/events/la-porte-de-l-europe-les-bourgeois-de-calais), en France. Au lieu du oui/non attendu, Durham utilise délibérément le oui/pas oui, parce que dans la langue cherokee le mot « non » n'existe pas. Par exemple, pour dire qu'il n'y a pas d'eau, un locuteur cherokee dirait que « toute l'eau est partie d'ici »."}]},{"id":902,"title":"Self-Portrait Pretending to Be Maria Thereza Alves as Terminator","dimensions":"80,7 x 60,7 cm","date_begin":"2006-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist and Christine König Galerie, Vienna","cached_tag_list":"color","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 188-189\r\nEd. 1: Collection Fluid Editions, Karlsruhe\r\norigin: Christine König Galerie, Vienna","date_end":null,"reference":"","stream_count_app":29,"permalink":"self-portrait-pretending-to-be-maria-thereza-alves-as-terminator","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/762/large/Maria_Thereza_Terminator.jpg?1314282984","poster_credits":"(c) Maria Thereza Alves","translations":[{"locale":"en","description":"Jimmie Durham made his first self-portrait in 1987 ([read a story about it here](http://ensembles.mhka.be/items/834)), which was followed by a series of performative images that were produced since the artist moved to Europe. These photographs, taken by Maria Thereza Alves, show Durham playing the part of the artist whose personality unfolds into multiple identities, such as those of [other artists](http://ensembles.mhka.be/items/897), [fictive characters](http://ensembles.mhka.be/items/900) or an [stone](http://ensembles.mhka.be/items/904). "},{"locale":"nl","description":"Jimmie Durham maakte zijn eerste zelfportret in 1987 ([lees er hier een verhaal over](http://ensembles.mhka.be/items/834)), waarop een reeks performatieve beelden volgde die geproduceerd werden nadat de kunstenaar naar Europa was verhuisd. Deze foto's, genomen door Maria Thereza Alves, tonen Durham in de rol van de kunstenaar wiens persoonlijkheid zich in meerdere identiteiten ontvouwt, zoals die van [andere kunstenaars](http://ensembles.mhka.be/items/897), [fictieve personages](http://ensembles.mhka.be/items/900) of een [steen](http://ensembles.mhka.be/items/904)."},{"locale":"fr","description":"Jimmie Durham a réalisé son premier autoportrait en 1987. [Lisez ici une histoire à ce propos](http://ensembles.mhka.be/items/834). Puis il a produit une série d'images de lui lors de performances après s'être installé en Europe en 1994. C'est sa partenaire, Maria Thereza Alves, qui a pris ces photos-ci pendant des moments performatiques dans lequelles Durham jouait le rôle de l'artiste dont la personnalité se dissocie et se déploie en de multiples identités : [d'autres artistes](http://ensembles.mhka.be/items/900), des [personnages fictifs](http://ensembles.mhka.be/items/900) ou même une [pierre](http://ensembles.mhka.be/items/904)."}]},{"id":899,"title":"Self-Portrait Pretending to Be Maria Thereza Alves","dimensions":"variable dimensions","date_begin":"2006-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":1,"collection":"Courtesy of the artist and Christine König Galerie, Vienna","cached_tag_list":"color","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 182-183\r\nEd. 1: Collection Fluid Editions, Karlsruhe\r\norigin: Christine König Galerie, Vienna\r\n81,2 x 60,9 cm","date_end":null,"reference":"","stream_count_app":27,"permalink":"self-portrait-pretending-to-be-maria-thereza-alves","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/765/large/Maria_Thereza.jpg?1314283100","poster_credits":"(c) Maria Thereza Alves","translations":[{"locale":"en","description":"Jimmie Durham made his first self-portrait in 1987 ([read a story about it here](http://ensembles.mhka.be/items/834)), which was followed by a series of performative images that were produced since the artist moved to Europe. These photographs, taken by Maria Thereza Alves, show Durham playing the part of the artist whose personality unfolds into multiple identities, such as those of [other artists](http://ensembles.mhka.be/items/897), [fictive characters](http://ensembles.mhka.be/items/900) or an [stone](http://ensembles.mhka.be/items/904)."},{"locale":"nl","description":"Jimmie Durham maakte zijn eerste zelfportret in 1987 ([lees er hier een verhaal over](http://ensembles.mhka.be/items/834)), waarop een reeks performatieve beelden volgde die geproduceerd werden nadat de kunstenaar naar Europa was verhuisd. Deze foto's, genomen door Maria Thereza Alves, tonen Durham in de rol van de kunstenaar wiens persoonlijkheid zich in meerdere identiteiten ontvouwt, zoals die van [andere kunstenaars](http://ensembles.mhka.be/items/897), [fictieve personages](http://ensembles.mhka.be/items/900) of een [steen](http://ensembles.mhka.be/items/904)."},{"locale":"fr","description":"Jimmie Durham a réalisé son premier autoportrait en 1987. [Lisez ici une histoire à ce propos](http://ensembles.mhka.be/items/834). Puis il a produit une série d'images de lui lors de performances après s'être installé en Europe en 1994. C'est sa partenaire, Maria Thereza Alves, qui a pris ces photos-ci pendant des moments performatiques dans lequelles Durham jouait le rôle de l'artiste dont la personnalité se dissocie et se déploie en de multiples identités : [d'autres artistes](http://ensembles.mhka.be/items/900), des [personnages fictifs](http://ensembles.mhka.be/items/900) ou même une [pierre](http://ensembles.mhka.be/items/904)."}]},{"id":913,"title":"Snake Eyes!","dimensions":"125 x 81 cm","date_begin":"2006-01-01","material":"collage, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection of Mima and César Reyes, Puerto Rico","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 206, p. 209. \r\nWall piece.\r\nInsurance value: 50.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational use. Should be listed as belonging to Mima y Cesar Reyes. ","date_end":null,"reference":"","stream_count_app":32,"permalink":"snake-eyes","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/509/large/snake%20eyes,%202006.jpg?1317908398","poster_credits":"(c)image: Roman März","translations":[{"locale":"en","description":"In *Snake Eyes!* objects (or pieces of objects) stuck to a wooden panel are accompanied by short text fragments revealing us hints of a story. This combination of words and things builds a non-linear narrative that we can read through the composition of the panel. At the same time, Durham’s words seems to, in the opposite direction, justify the presence of all these elements."},{"locale":"nl","description":"In *Snake Eyes!* wordt een houten paneel met objecten (of stukken van objecten) begeleid door korte tekstfragmenten die stukken uit een verhaal onthullen. Die combinatie van woorden en dingen zorgt voor een niet-lineair verhaal, dat we kunnen lezen door de samenstelling van het paneel. Tegelijkertijd lijken Durhams woorden, in de tegengestelde richting,  de aanwezigheid van al deze elementen te rechtvaardigen. "},{"locale":"fr","description":"Dans *Snake Eyes!* (Œil de serpent !) des objets (ou des éléments d’objets) sont fixés à un panneau en bois et accompagnés de brefs fragments de texte qui nous mettent sur la piste d’une histoire. Cette combinaison de mots et de choses construit une narration non-linéaire que nous pouvons lire à travers la composition du panneau. Parallèlement, les mots de Durham paraissent justifier, en sens inverse, la présence de tous ces éléments."}]},{"id":909,"title":"The American West","dimensions":"30 cm x 24,5 cm","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Exhibition Catalogue","publishing_process_id":1,"annotation":"ISBN 0-9546546-7-9, Compton Verney, Warwickshire, 175 p., ill., English","date_end":null,"reference":"","stream_count_app":14,"permalink":"the-american-west","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/313/large/ninaserebrenick_20120515_093807_001.jpg?1337068045","poster_credits":null,"translations":[{"locale":"en","description":"Book published in the occasion of the exhibition *The American West*, Compton Verney, 25 June - 29 August 2005. Jimmie Durham and Richard Hill were the curators. The book contains work by several artists including texts and drawings by Jimmie Durham.\r\n\r\nAvailable for consultation at [M HKA_library](http://www.muhka.be/verzamelt_beeldbib.php?la=en)"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":847,"title":"My Book, The East London Coelacanth, Sometimes Called, Troubled Waters; The Story of British Sea-Power, Begins With a Chapter Titled;","dimensions":"24,6 cm x 17,4 cm","date_begin":"1993-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":1,"collection":"","cached_tag_list":"Exhibition Catalogue","publishing_process_id":1,"annotation":"ISBN 0-905263-39-1, ICA/Book Works, London, 48 p., ill., English","date_end":null,"reference":"","stream_count_app":15,"permalink":"my-book-the-east-london-coelacanth-sometimes-called-troubled-waters-the-story-of-british-sea-power-begins-with-a-chapter-titled","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/313/large/JD169-1993-1994.jpg?1317587608","poster_credits":null,"translations":[{"locale":"en","description":"Published to accompany the exhibitions [*A Certain lack of Coherence*](http://ensembles.mhka.be/events/a-certain-lack-of-coherence) in Brussels and *Original Re-runs* at the ICA in London.\r\n\r\nAvailable for consultation at [M HKA_library](http://www.muhka.be/verzamelt_beeldbib.php?la=en)"},{"locale":"nl","description":"Boek gepubliceerd in het kader van de tentoonstellingen [*A Certain lack of Coherence*](http://ensembles.mhka.be/events/a-certain-lack-of-coherence)in Brussel en *Original Re-runs* in Londen.\r\n\r\nTe raadplegen in de [M HKA_bibliotheek](http://www.muhka.be/verzamelt_beeldbib.php?la=nl)\r\n"},{"locale":"fr","description":""}]},{"id":914,"title":"A Mushroom from the Grunewald Forest","dimensions":"85 x 67 x 10 cm, 53 x 67 x 10 cm","date_begin":"2006-01-01","material":"Dried mushroom, ink, wood, mounted on cardboard. ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":105,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of Galerie Wien Lukatsch, Berlin","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 206, p. 210.\r\nWall piece. Mounted on cardboard.\r\nInsurance value: 30.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational use. Should be listed as belonging to Galerie Barbara Wien Wilma Lukatsch, Berlin. The two elements are separately wrapped in cardboard. ","date_end":null,"reference":"","stream_count_app":21,"permalink":"a-mushroom-from-the-grunewald-forest","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/518/large/a%20mushroom%20from%20grunewald,%202006.jpg?1317989451","poster_credits":"(c)image: Roman März","translations":[{"locale":"en","description":"Two wooden boards are presented side-by-side: on one, the artist describes a process which results in the physical matter (the dried mushroom) being displayed on the other. He couples, in this way, a narrative to this strange object. Through his text, Durham tells us how he has found a giant mushroom during his wanderings in the Grünewald Forest. He approaches the spectator (“Yes it does look a bit strange; nevertheless you are also a bit strange”), assuming our presence and recognizing the context of this encounter when explaining that the mushroom is also “suitable for museums”."},{"locale":"nl","description":"Twee houten plankjes worden naast elkaar gepresenteerd: op het ene beschrijft de kunstenaar een proces dat resulteert in het tonen van fysische materie (de gedroogde paddenstoel) op het andere. Op die manier koppelt hij een verhaal aan dit vreemde object. Door middel van zijn tekst vertelt Durham ons hoe hij tijdens zijn omzwervingen in het Grünewald een paddenstoel heeft gevonden. Hij benadert de toeschouwer ('Ja, hij ziet er een beetje vreemd uit; maar jij bent ook een beetje vreemd'), waarbij hij uitgaat van onze aanwezigheid en hij de context van deze ontmoeting erkent, wanneer hij uitlegt dat de paddenstoel ook 'voor musea geschikt' is."},{"locale":"fr","description":"Deux planches en bois sont posées côte à côte : sur l'une, l'artiste décrit un processus dont le résultat est la présentation de matière physique (le champignon ) sur l'autre. Il marie ainsi une narration à cet étrange objet. Dans son texte, Durham nous raconte comment il a trouvé un champignon durant ses pérégrinations dans la forêt de Grunewald. Il approche le spectateur ('Oui, il a l'air un peu bizarre, cependant vous aussi, vous êtes un peu bizarre'), en partant du principe de sa présence et en reconnaissant le contexte de cette rencontre quand il explique que le champignon est également « approprié aux musées »."}]},{"id":896,"title":"Sweet Light Crude","dimensions":"variable dimensions","date_begin":"2008-01-01","material":"painted oil barrels","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Courtesy of the artist, Raymond Azibert, Carcassonne, and Galerie Michel Rein, Paris","cached_tag_list":"","publishing_process_id":1,"annotation":" 'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 176-177\r\nlocation: HT Transport, Berlin.\r\nCurrently in the artist's storage: Grossgörschenstrasse 6, 10827 Berlin, Schöneberg, Germany.\r\n (25 barrels, max height 400 cm)","date_end":null,"reference":"JD1852","stream_count_app":45,"permalink":"sweet-light-crude","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/746/large/39752009-01-28J-DURHAM-.jpg?1314273310","poster_credits":"(c)image: Musée d’Art moderne de la Ville de Paris / Thierry Langro","translations":[{"locale":"en","description":"“And yet many objects really are beautiful, aren’t they? Is there anyone who does not love oak barrels, with their beautiful shape, texture, and technology? I love metal oil barrels in the same way. (...)\r\nWhen these oil drums are new, they have marvelous words on them, like “Shell” or “Total”; when I was a boy, I remember there was the Humble Oil Company, whose barrels bore the legend “Humble.” For decades, I have used oil barrels, usually the ones that proclaim “Total,” which are bright orange. For the [show in Paris](http://ensembles.mhka.be/events/28), I am making a new piece titled after the petroleum-industry classification [Sweet](http://en.wikipedia.org/wiki/Sweet_crude_oil)/[Light Crude](http://en.wikipedia.org/wiki/Light_crude_oil). It is 25 oil barrels stacked three barrels high, each one painted a different pastel color and with a different word: TRUE, PURE, GOOD, BRAVE, and so on.” [full text [here](http://ensembles.mhka.be/items/3212)]"},{"locale":"nl","description":"“En toch zijn veel voorwerpen echt mooi, niet? Is er iemand die niet houdt van eikenhouten vaten, met hun prachtige vorm, textuur en technologie? Ik houd net zoveel van metalen olievaten. (...)\r\nWanneer die olievaten nieuw zijn, staan er wonderlijke woorden op, zoals “Shell” of “Total”. Ik herinner me dat je in mijn kindertijd de Humble Oil Company had, met op zijn vaten het legendarische ‘Humble’. Jarenlang heb ik olievaten gebruikt, gewoonlijk die vaten die “Total” verkondigen en helder oranje zijn. Voor de [tentoonstelling in Parijs](http://ensembles.mhka.be/events/28) maak ik een nieuw werk getiteld naar de classificatie van de aardolie-industrie [Sweet](http://en.wikipedia.org/wiki/Sweet_crude_oil)/[Light Crude](http://en.wikipedia.org/wiki/Light_crude_oil). Het omhelst 25 olievaten, drie vaten hoog gestapeld, met elk vat geverfd in een andere pastelkleur en met een ander woord: TRUE (WAAR), PURE (PUUR), GOOD (GOED), BRAVE (DAPPER), enzovoort.” [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/3212)]"},{"locale":"fr","description":"« Et pourtant beaucoup d'objets sont vraiment magnifiques, n'est-ce pas ? Y a-t-il donc quelqu'un qui n'aime pas les tonneaux de chêne, leur forme séduisante, leur texture et leur technologie ? J'aime tout autant les barils de pétrole en métal. (…)\r\nQuand ces bidons sont neufs, ils portent des mots merveilleux comme “Shell” ou “Total”. Quand j'étais enfant, je me souviens qu'il y avait une compagnie pétrolière qui s'appelait Humble, dont les barils portaient la légende “Humble”. Pendant des décennies, j'ai utilisé ces barils de pétrole, en général ceux qui proclamaient “Total” et qui étaient orange vif. Pour l'[exposition à Paris]((http://ensembles.mhka.be/events/28), j'ai réalisé une nouvelle pièce intitulée d'après la classification de l'industrie pétrolière [Sweet](http://en.wikipedia.org/wiki/Sweet_crude_oil) (Doux)/[Light Crude](http://en.wikipedia.org/wiki/Light_crude_oil) (Léger Cru). Il s'agit de 25 barils empilés sur trois niveaux, chacun peint dans une différente couleur pastel et affichant un mot différent : VRAI, PUR, BON, COURAGEUX, etc. » [texte intégral [ici](http://ensembles.mhka.be/items/3212)]"}]},{"id":889,"title":"Something (Perhaps a Fugue or an Elegy)","dimensions":"100 x 600 x 400 cm","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":20,"stream_count":1,"collection":"Collection of Maurizio Morra Greco, Naples","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"origin: Franco Soffiantino Arte contemporanea, Turin\r\n 'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 140-143\r\nOrigin: Christine König Galerie, Vienna\r\nImages Rights: Franco Soffiantino.\r\nCurrently in the possession of Morra Greco, Naples, Italy.\r\n\r\nInsurance value: 200.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational purposes. Should be listed as belonging to Collizione Marizio Morra Greco, Napoli.","date_end":null,"reference":"","stream_count_app":69,"permalink":"something-perhaps-a-fugue-or-an-elegy","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/724/large/39912009-02-02J-DURHAM-.jpg?1314266574","poster_credits":"(c)Musée d’Art moderne de la Ville de Paris / Thierry Langro","translations":[{"locale":"en","description":"*Something (Perhaps a Fugue or an Elegy)* is a monumental sculpture of assembled objects. Perhaps like a fugue, it is a composition with the development of an idea, where elements constantly re-appear. Between start and stop (as well as STAR and TOP) we see an entanglement of elements such as cameras, mirrors, all kinds of electrical appliances, pipes, carved figures and pieces of sculptures and other materials. The skulls, bones and the plates signalizing DEATH and NATURE MORTE seem to give us a hint of what it’s all about, and perhaps remind us of an elegy, functioning as a melancholic visual poem. The possible chains of analogies and associations are an invitation to the viewer to endless interpretations."},{"locale":"nl","description":"*Something (Perhaps a Fugue or an Elegy)* is een monumentale sculptuur van geassembleerde voorwerpen. Het is een compositie – misschien als een fuga – met de ontwikkeling van een idee, waar voortdurend elementen opnieuw naar voren komen. Tussen start en stop (naast STAR en TOP) zien we een wirwar van elementen: camera’s, spiegels, allerlei elektrische apparaten, buizen, gesneden figuren en stukken van sculpturen en andere materialen. We krijgen een hint van waar het om gaat met de schedels, botten en de bordjes die DEATH en NATURE MORTE aangeven. Misschien herinneren ze ons aan een elegie, en functioneert het als een melancholisch visueel gedicht. De mogelijke kettingen van analogieën en associaties nodigen de kijker uit tot oneindig veel interpretaties. "},{"locale":"fr","description":"*Something (Perhaps a Fugue or an Elegy)* (Quelque chose (Peut-être une fugue ou une élégie))est une sculpture monumentale composée d’objets assemblés. Peut-être s’agit-il, à l’instar d’une fugue, d’une composition qui développe une idée et dont les éléments réapparaissent sans cesse. Entre le début et la fin, entre « start » et « stop » (et aussi STAR et TOP), on aperçoit un enchevêtrement d’objets comme des caméras, des miroirs, divers appareils électriques, des pipes, des personnages sculptés, des parties de sculptures, etc. Les crânes, les os et les panneaux qui indiquent DEATH et NATURE MORTE semblent nous donner une indication de ce dont il est question et nous rappellent peut-être une élégie, qui fonctionnerait comme un poème visuel mélancolique. Les possibles enchaînements d’analogies et d’associations sont autant d’invitations faites au spectateur à imaginer une infinité d’interprétations."}]},{"id":903,"title":"Self-Portrait with Black Eye and Bruises","dimensions":"79 x 60 cm","date_begin":"2006-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":2,"collection":"Courtesy of the artist and Christine König Galerie, Vienna","cached_tag_list":"color","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 190-191\r\nEd.1 Collection Sabrina Recoules, Paris\r\norigin: Christine König Galerie, Vienna","date_end":null,"reference":"","stream_count_app":30,"permalink":"self-portrait-with-black-eye-and-bruises","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/001/large/Durham_Jimmie__1%284%29.jpg?1336637301","poster_credits":"(c)image: Jimmie Durham","translations":[{"locale":"en","description":"Durham’s dentist gave him surgery for new implants and told Durham not to drink wine that night or it would make his face look funny. Durham invited him to dinner and served him wine. The photo was taken in an automated Photo Booth."},{"locale":"nl","description":"*Zelfportret met blauw oog en blauwe plekken*.\r\nEen tandarts opereerde Durham voor nieuwe implantaten en zei hem geen wijn te drinken die avond, want dat zou hem een grappig gezicht bezorgen. Waarop Durham hem uitnodigde om te komen eten, en wijn serveerde. De foto werd genomen in een geautomatiseerd fotohokje."},{"locale":"fr","description":"*Autoportrait avec œil au beurre noir et ecchymoses*.\r\nLe dentiste de Durham lui a posé de nouveaux implants dentaires. Après l'intervention chirurgicale, le dentiste lui a conseillé de ne pas boire de vin ce soir-là, car cela pourrait donner un aspect étrange à son visage. Durham l'a invité à dîner et lui a servi du vin. La photo a été prise dans une cabine photographique automatique."}]},{"id":873,"title":"You Cannot Book a Judge under Cover","dimensions":"120 x 80 x 80 cm","date_begin":"2006-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":1,"collection":"Collection of Maurizio Morra Greco, Naples","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":" 'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 106-107\r\norigin: Franco Soffiantino Arte Contemporanea, Turin.\r\nCurrently in the possession Mora Greco, Naples, Italy.\r\n\r\nInsurance value:75.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational purposes. ","date_end":null,"reference":"","stream_count_app":26,"permalink":"you-cannot-book-a-judge-under-cover","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/503/large/JD_MISC_PHOTO_0101.jpg?1311771156","poster_credits":"(c)image: Fulvio Richetto","translations":[{"locale":"en","description":"“I do not like language (but it does not follow that I advocate its dis-use or mis-use; just the contrary.) but I love words. (Please forgive this digression: for some reason we speak as though there were a connection between words and objects. One of the interesting properties of both words and objects is that they repel each other. I often like to combine them in art works, by nailing or glueing them together because of the vibration this causes.)” [full text [here](http://ensembles.mhka.be/items/1824)]"},{"locale":"nl","description":"'Ik hou niet van taal (maar dat betekent niet dat ik pleit voor het niet of verkeerd gebruiken van taal;  integendeel) maar ik hou van woorden. (Vergeef deze uitweiding: om de een of andere reden spreken we alsof er een verband is tussen woorden en dingen. Een van de interessante eigenschappen van zowel woorden als dingen is dat ze elkaar afstoten. Vaak combineer ik ze in kunstwerken, graag zelfs, door ze tegen elkaar te spijkeren of samen te lijmen, omdat dit een vibratie veroorzaakt.)' [volledige tekst [hier](http://ensembles.mhka.be/items/1824)]"},{"locale":"fr","description":"« Je n'aime pas le langage (ce qui ne veut pas dire que je plaide pour son non-usage ou son mésusage, bien au contraire), mais j'aime les mots. (Veuillez excuser cette digression : pour une raison quelconque, nous parlons comme s'il existait un lien entre les mots et les objets. L'une des propriétés intéressantes des mots et des objets est de se repousser. Souvent, j'aime les combiner dans des œuvres, en les épinglant ou en les collant les uns aux autres à cause de la vibration que cela suscite.) » [texte intégral [ici](http://ensembles.mhka.be/items/1824)]"}]},{"id":901,"title":"Self-Portrait Pretending to Be my Mother as Played by Isabel Perera","dimensions":"variable dimensions","date_begin":"2006-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Christine König Galerie, Vienna","cached_tag_list":"","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 186-187\r\norigin: Christine König Galerie, Vienna","date_end":"2006-01-01","reference":"","stream_count_app":30,"permalink":"self-portrait-pretending-to-be-my-mother-as-played-by-isabel-perera","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/763/large/Mother_Isabel_Brey.jpg?1314283023","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"Jimmie Durham made his first self-portrait in 1987 ([read a story about it here](http://ensembles.mhka.be/items/834)), which was followed by a series of performative images that were produced since the artist moved to Europe. These photographs, taken by Maria Thereza Alves, show Durham playing the part of the artist whose personality unfolds into multiple identities, such as those of [other artists](http://ensembles.mhka.be/items/897), [fictive characters](http://ensembles.mhka.be/items/900) or an [stone](http://ensembles.mhka.be/items/904)."},{"locale":"nl","description":"Jimmie Durham maakte zijn eerste zelfportret in 1987 ([lees er hier een verhaal over](http://ensembles.mhka.be/items/834)), waarop een reeks performatieve beelden volgde die geproduceerd werden nadat de kunstenaar naar Europa was verhuisd. Deze foto's, genomen door Maria Thereza Alves, tonen Durham in de rol van de kunstenaar wiens persoonlijkheid zich in meerdere identiteiten ontvouwt, zoals die van [andere kunstenaars](http://ensembles.mhka.be/items/897), [fictieve personages](http://ensembles.mhka.be/items/900) of een [steen](http://ensembles.mhka.be/items/904)."},{"locale":"fr","description":"Jimmie Durham a réalisé son premier autoportrait en 1987. [Lisez ici une histoire à ce propos](http://ensembles.mhka.be/items/834). Puis il a produit une série d'images de lui lors de performances après s'être installé en Europe en 1994. C'est sa partenaire, Maria Thereza Alves, qui a pris ces photos-ci pendant des moments performatiques dans lequelles Durham jouait le rôle de l'artiste dont la personnalité se dissocie et se déploie en de multiples identités : [d'autres artistes](http://ensembles.mhka.be/items/900), des [personnages fictifs](http://ensembles.mhka.be/items/900) ou même une [pierre](http://ensembles.mhka.be/items/904)."}]},{"id":900,"title":"Self-Portrait as Rosa Lévy","dimensions":"variable dimensions","date_begin":"1995-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":1,"collection":"Courtesy of the artist and Christine König Galerie, Vienna","cached_tag_list":"","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 184-185\r\nEd. 1: Collection Fluid Editions, Karlsruhe\r\norigin: Christine König Galerie, Vienna\r\n81 x 60.9 cm","date_end":"2006-01-01","reference":"","stream_count_app":30,"permalink":"self-portrait-as-rosa-levy","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/203/large/Durham_Jimmie__1%289%29.jpg?1336637447","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"Jimmie Durham’s *Self-portrait as Rosa Lévy* makes direct references to Marcel Duchamp. Firstly, Rosa Levy (the inexistent character incarnated by Durham) is an anagram of Duchamp’s [Rrose Sélavy](http://en.wikipedia.org/wiki/Rrose_S%C3%A9lavy). The second reference, the artist’s pose and mustache, brings us finally to Duchamp’s [L.H.O.O.Q.](http://en.wikipedia.org/wiki/L.H.O.O.Q.), completing the homage to the French artist and to what he might represent for Jimmie Durham’s artistic persona."},{"locale":"nl","description":"Jimmie Durhams *Self-portrait as Rosa Lévy* is een directe verwijzing naar Marcel Duchamp. Ten eerste is Rosa Lévy (een niet bestaand personage, geïncarneerd door Durham) een anagram van Duchamps [Rrose Sélavy](http://en.wikipedia.org/wiki/Rrose_S%C3%A9lavy). De tweede verwijzing, de houding en de snor van de kunstenaar, brengt ons uiteindelijk naar Duchamps [L.H.O.O.Q.](http://en.wikipedia.org/wiki/L.H.O.O.Q.) en vervolledigt zo de hommage aan De Franse kunstenaar; tegelijk toont ze ons misschien het belang van Duchamp voor Durhams eigen artistieke persona."},{"locale":"fr","description":"Dans *Self-portrait as Rosa Lévy*, Jimmie Durham fait une référence directe à Marcel Duchamp. Premièrement, Rosa Lévy (un personnage fictif incarné par Durham en personne) est l'anagramme de [Rrose Sélavy](http://fr.wikipedia.org/wiki/Rrose_S%C3%A9lavy) de Duchamp. La seconde référence, la pose qu'adopte l'artiste et la moustache qu’il arbore, nous renvoie à l'œuvre [L.H.O.O.Q.](http://fr.wikipedia.org/wiki/L.H.O.O.Q.) de Duchamp, complétant l'hommage à l'artiste français et à ce qu'il peut représenter pour le personnage artistique de Jimmie Durham."}]},{"id":898,"title":"Self-Portrait Pretending to Be Euroman","dimensions":"81 x 61 cm","date_begin":"2008-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Christine König Galerie, Vienna","cached_tag_list":"","publishing_process_id":1,"annotation":" 'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 180-181\r\nEd.1 + 1 a.p.","date_end":null,"reference":"","stream_count_app":22,"permalink":"self-portrait-pretending-to-be-euroman","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/991/large/duram_euroman.jpeg?1329816915","poster_credits":"(c) image: Maria Thereza Alves","translations":[{"locale":"en","description":"Jimmie Durham made his first self-portrait in 1987 ([read a story about it here](http://ensembles.mhka.be/items/834)), which was followed by a series of performative images that were produced since the artist moved to Europe. These photographs, taken by Maria Thereza Alves, show Durham playing the part of the artist whose personality unfolds into multiple identities, such as those of [other artists](http://ensembles.mhka.be/items/897), [fictive characters](http://ensembles.mhka.be/items/900) or an [stone](http://ensembles.mhka.be/items/904). "},{"locale":"nl","description":"Jimmie Durham maakte zijn eerste zelfportret in 1987 ([lees er hier een verhaal over](http://ensembles.mhka.be/items/834)), waarop een reeks performatieve beelden volgde die geproduceerd werden nadat de kunstenaar naar Europa was verhuisd. Deze foto's, genomen door Maria Thereza Alves, tonen Durham in de rol van de kunstenaar wiens persoonlijkheid zich in meerdere identiteiten ontvouwt, zoals die van [andere kunstenaars](http://ensembles.mhka.be/items/897), [fictieve personages](http://ensembles.mhka.be/items/900) of een [steen](http://ensembles.mhka.be/items/904)."},{"locale":"fr","description":"Jimmie Durham a réalisé son premier autoportrait en 1987. [Lisez ici une histoire à ce propos](http://ensembles.mhka.be/items/834). Puis il a produit une série d'images de lui lors de performances après s'être installé en Europe en 1994. C'est sa partenaire, Maria Thereza Alves, qui a pris ces photos-ci pendant des moments performatiques dans lequelles Durham jouait le rôle de l'artiste dont la personnalité se dissocie et se déploie en de multiples identités : [d'autres artistes](http://ensembles.mhka.be/items/900), des [personnages fictifs](http://ensembles.mhka.be/items/900) ou même une [pierre](http://ensembles.mhka.be/items/904)."}]},{"id":897,"title":"Self-Portrait Pretending to Be Haim Steinbach as Played by Haim Steinbach","dimensions":"81 x 61 cm","date_begin":"2008-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":1,"collection":"Collection Christine König Galerie, Vienna","cached_tag_list":"B/W photograph","publishing_process_id":1,"annotation":" 'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 178-179\r\n","date_end":null,"reference":"","stream_count_app":26,"permalink":"self-portrait-pretending-to-be-haim-steinbach-as-played-by-haim-steinbach","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/019/large/Self-Portrait%20Pretending%20to%20Be%20Haim%20Steinbach%20as%20Played%20by%20Haim%20Steinbach-lr.jpg?1329905442","poster_credits":null,"translations":[{"locale":"en","description":"This photograph is part of Jimmie Durham’s self-portrait series, even though the only way in which this image can be read as a self-portrait is in its tricky title. Haim Steinbach is a Israel-born artist living in New York and a friend of Durham’s. "},{"locale":"nl","description":"Dit werk hoort bij Durhams self-portrait series, ook al is de enige manier waarop dit beeld als een zelfportret kan gelezen worden, zijn listige titel. Haim Steinbach is een New Yorkse kunstenaar uit Israël en een vriend van Durham."},{"locale":"fr","description":"Cette œuvre fait partie de la série d'autoportraits de Jimmie Durham, même que la seule façon dont cette image peut être lue comme un autoportrait est son titre astucieux. Haim Steinbach est un artiste né en Israël qui vit à New York, ami de Jimmie Durham. "}]},{"id":848,"title":"Types of Pipes, by Magritte","dimensions":"61 x 61 cm","date_begin":"1993-01-01","material":"Wood, metal, pvc","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection, Brussels","cached_tag_list":"","publishing_process_id":1,"annotation":" 'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 74-75.\r\nCurrently in the possession of Dirk Snauwaert, Belgium.\r\nInsurance value: 25.000 euros. Should be preconcerted with the artist wether or not the work can be photographed for catalogue, TV, press and educational use. Should be listed as belonging to a private collection in Brussels. ","date_end":null,"reference":"","stream_count_app":27,"permalink":"types-of-pipes-by-magritte","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/611/large/IMG_4088%20copie-1.jpg?1323261216","poster_credits":null,"translations":[{"locale":"en","description":"The twin paintings *Types of Pipes, by Magritte* and [*Types of Murder Weapons, by Maigret*](http://ensembles.mhka.be/items/850) were made for an [exhibition](http://ensembles.mhka.be/events/54) in Brussels in 1993. The same collection of objects (different kinds of tubes and pipes) is presented twice, with different titles and signatures, playing with the double meaning of the word “pipe”. The first is signed by Renée Magritte (whose famous [*Ceci n’est pas une pipe*](http://cecinestpasunsiteweb.com/wp-content/uploads/ceci-nest-pas-une-pipe.jpg) need not to be explained, especially when in Brussels) and the second by inspector Maigret, the famous character from [George Simenon](http://en.wikipedia.org/wiki/Georges_Simenon)’s stories (who besides investigating crimes also had pipes as a trademark)."},{"locale":"nl","description":"De schilderijentweeling *Types of Pipes, by Magritte* en [*Types of Murder Weapons, by Maigret*](http://ensembles.mhka.be/items/850) werd gemaakt voor een [tentoonstelling](http://ensembles.mhka.be/events/54) in Brussel in 1993. Dezelfde verzameling voorwerpen (verschillende soorten buizen en pijpen) wordt twee keer getoond, met verschillende titels en handtekeningen, spelend met de dubbele betekenis van het woord “pijp”. De eerste is gesigneerd door Renée Magritte (wiens beroemde [*Ceci n’est pas une pipe*](http://cecinestpasunsiteweb.com/wp-content/uploads/ceci-nest-pas-une-pipe.jpg) geen uitleg behoeft, zeker niet in Brussel) en de twee door Maigret, het beroemde personage uit de verhalen van [George Simenon](http://nl.wikipedia.org/wiki/Georges_Simenon) (die misdaden onderzocht, maar ook een pijp als handelsmerk had)."},{"locale":"fr","description":"Ces peintures jumelles, *Types of Pipes, by Magritte* et [*Types of Murder Weapons, by Maigret*] ont été réalisées pour une [exposition](http://ensembles.mhka.be/events/54) à Bruxelles, en 1993. La même collection d'objets (différentes sortes de tubes et de pipes) est présentée deux fois, avec des signatures et des titres différents, jouant sur la double signification du terme pipe en anglais (pipe et tuyau). La première est signée par Renée Magritte (dont le fameux [*Ceci n’est pas une pipe*](http://cecinestpasunsiteweb.com/wp-content/uploads/ceci-nest-pas-une-pipe.jpg), qui n'avait pas besoin d'explication, certainement pas à Bruxelles) et la deuxième porte la signature de l'inspecteur Maigret, le célèbre personnage de [George Simenon](http://fr.wikipedia.org/wiki/Georges_Simenon) (qui, outre ses fameuses enquêtes, avait aussi une pipe comme attribut distinctif)."}]},{"id":925,"title":"Tocetea","dimensions":"00:00:26","date_begin":"2003-01-01","material":"dvd","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Courtesy of the artist and Galerie Michel Rein, Paris","cached_tag_list":"","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 228-229\r\nPurepecha language, translates to I Teach Myself. In the video, Durham drops the stone three times. Currently in the artist's storage: Grossgörschenstrasse 6, 10827 Berlin, Schöneberg, Germany.","date_end":null,"reference":"","stream_count_app":54,"permalink":"tocetea","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/121/large/4aDurham.jpg?1321908298","poster_credits":"(c) image: Maria Tereza Alves","translations":[{"locale":"en","description":"*Tocetea* is a word in the language of the P'urhépecha (an indigenous people from the Northwestern region of Mexico) which translates to “I Teach Myself”. In this video, Jimmie Durham drops a heavy stone three times until it finally teaches itself how to fall inside a bucket full of red, blue and yellow paint.\r\n"},{"locale":"nl","description":"*Tocetea* is een woord in de taal van de P'urhépecha (een inheems volk in het Noordwesten van Mexico) dat zich laat vertalen als “Ik leer mezelf”. In deze video laat Jimmie Durham drie keer een zware steen vallen tot die zichzelf aanleert hoe hij moet vallen in een emmer vol rode, blauwe en gele verf."},{"locale":"fr","description":"*Tocetea* est un mot en langue p’urhépecha (un peuple indigène de la région nord-ouest du Mexique) qui peut se traduire par « je m'enseigne, j'enseigne à moi-même ». Dans cette vidéo, Jimmie Durham lâche trois fois une lourde pierre jusqu'à ce qu'elle « s'enseigne » comment tomber dans un seau plein de peinture rouge, bleue et jaune."}]},{"id":918,"title":"Arc de Triomphe for Personal Use (Grey)","dimensions":"150 x 100 x 100 cm","date_begin":"2007-01-01","material":"wood, paint","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":2,"collection":"Collection of Museum Ludwig, Cologne","cached_tag_list":"","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 216-217\r\n\r\norigin: de Pury \u0026 Luxembourg, Zurich","date_end":null,"reference":"ML/SK 5237","stream_count_app":37,"permalink":"arc-de-triomphe-for-personal-use-grey","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/581/large/DSC_0544.jpg?1337777891","poster_credits":"image (c)M HKA","translations":[{"locale":"en","description":"*Arc de Triomphe for Personal Use* is a collapsable and portable arch that is made of wood with metal hinges and bolts. It can be easily assembled whenever one wishes to make a triumphal march, walk, or entry.\r\n\r\nSee in the ensemble [*Arc de Triomphe*](http://ensembles.mhka.be/ensembles/arc-de-triomphe) other works of the same series."},{"locale":"nl","description":"*Arc de Triomphe for Personal Use* is een inklapbare en draagbare houten boog met metalen scharnieren en bouten. Hij kan gemakkelijk opgebouwd worden, telkens als men een triomfantelijke mars, wandeling, of intrede wil maken.\r\n\r\nZie voor andere werken uit dezelfde serie het ensemble [*Arc de Triomphe*](http://ensembles.mhka.be/ensembles/arc-de-triomphe)."},{"locale":"fr","description":"*Arc de Triomphe for Personal Use* (Arc de triomphe pour usage personnel) est un arc en bois, pliable et portable, doté de charnières et de boulons. Il peut facilement s'assembler dès que quelqu'un souhaite faire une marche ou une entrée triomphale.\r\n\r\nVoir d'autres œuvres de la même série dans l'ensemble [*Arc de Triomphe*](http://ensembles.mhka.be/ensembles/arc-de-triomphe)."}]},{"id":885,"title":"Here's a Peanut Shaped Like a Bird","dimensions":"160 x 49 x 47 cm","date_begin":"2006-01-01","material":"wood, paint, formica, peanut","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private Collection, Amsterdam","cached_tag_list":"","publishing_process_id":1,"annotation":" 'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 128-129\r\nProvenance: Lumen Travo Gallery, Amsterdam\r\nPhoto Edo Kuipers.\r\nCurrently in the possession of Marijke Michel, Amsterdam, The Netherlands.","date_end":null,"reference":"","stream_count_app":34,"permalink":"here-s-a-peanut-shaped-like-a-bird","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/567/large/peanut2.jpg?1313748470","poster_credits":"(c)image: Edo Kuipers","translations":[{"locale":"en","description":"This humorous piece was made on the occasion of the exhibition [*Bestiary*](http://ensembles.mhka.be/events/jimmie-durham-bestiary) in Amsterdam in 2006. A peanut reminded Jimmie Durham of a bird; and so the artist added to it tiny paws and some paint and placed it in a wooden cage on top of a colourful pedestal. The artist, nevertheless, reminds us through a note on a board (emphasized by a red arrow) of the real identity of that little creature."},{"locale":"nl","description":"Dit humoristisch werk werd in 2006 gemaakt ter gelegenheid van de tentoonstelling [*Bestiary*](http://ensembles.mhka.be/events/jimmie-durham-bestiary) in Amsterdam. Een pindanootje deed Jimmie Durham denken aan een vogel en dus voegde de kunstenaar kleine pootjes en wat verf toe en plaatste hij de pinda op een kleurrijk voetstuk in een houten kooi. Toch herinnert Durham ons, via de notitie op een bordje (benadrukt door een rode pijl), aan de ware identiteit van het beestje."},{"locale":"fr","description":"Jimmie Durham a réalisé cette pièce pleine d'humour à l'occasion de l'exposition [*Bestiary*](http://ensembles.mhka.be/events/jimmie-durham-bestiary) à Amsterdam en 2006. Une cacahuète l'a fait penser à un oiseau ; l'artiste lui a donc greffé de petites pattes, donné un coup de pinceau et l'a placée dans une cage en bois posée sur un piédestal bigarré. Néanmoins, l'artiste nous rappelle, à travers une note sur un écriteau (accentué par une flèche rouge), l'identité véritable de cette petite créature."}]},{"id":904,"title":"Self-Portrait Pretending to Be a Stone Statue of Myself","dimensions":"variable dimensions","date_begin":"2006-01-01","material":"ink, paper","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":1,"collection":"Courtesy of the artist and Christine König Galerie, Vienna","cached_tag_list":"","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 192-193\r\nEd. 1: Collection Fluid Editions, Karlsruhe\r\norigin: Christine König Galerie, Vienna\r\n80,7 x 60,9 cm","date_end":null,"reference":"","stream_count_app":26,"permalink":"self-portrait-pretending-to-be-a-stone-statue-of-myself","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/579/large/Stone_Statue.jpg?1313763441","poster_credits":"(c) Maria Thereza Alves","translations":[{"locale":"en","description":"Jimmie Durham made his first self-portrait in 1987 ([read a story about it here](http://ensembles.mhka.be/items/834)), which was followed by a series of performative images that were produced since the artist moved to Europe. These photographs, taken by Maria Thereza Alves, show Durham playing the part of the artist whose personality unfolds into multiple identities, such as those of [other artists](http://ensembles.mhka.be/items/897), [fictive characters](http://ensembles.mhka.be/items/900) or an stone. "},{"locale":"nl","description":"Jimmie Durham maakte zijn eerste zelfportret in 1987 ([lees er hier een verhaal over](http://ensembles.mhka.be/items/834)), waarop een reeks performatieve beelden volgde die geproduceerd werden nadat de kunstenaar naar Europa was verhuisd. Deze foto's, genomen door Maria Thereza Alves, tonen Durham in de rol van de kunstenaar wiens persoonlijkheid zich in meerdere identiteiten ontvouwt, zoals die van [andere kunstenaars](http://ensembles.mhka.be/items/897), [fictieve personages](http://ensembles.mhka.be/items/900) of een steen."},{"locale":"fr","description":"Jimmie Durham a réalisé son premier autoportrait en 1987. [Lisez ici une histoire à ce propos](http://ensembles.mhka.be/items/834). Puis il a produit une série d'images de lui lors de performances après s'être installé en Europe en 1994. C'est sa partenaire, Maria Thereza Alves, qui a pris ces photos-ci pendant des moments performatiques dans lequelles Durham jouait le rôle de l'artiste dont la personnalité se dissocie et se déploie en de multiples identités : [d'autres artistes](http://ensembles.mhka.be/items/900), des [personnages fictifs](http://ensembles.mhka.be/items/900) ou même une pierre."}]},{"id":911,"title":"They Almost Fit","dimensions":"110 x 85 cm","date_begin":"2006-01-01","material":"wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection, Berlin","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 206-207.\r\nWall piece.\r\nCurrently in the possession of Anselm Franke (anselmfranke@mail.com).\r\n\r\nInsurance value: 40.000 euros. Owner has agreed to having the work photographed for catalogue, press, tv and educational purposes. Owner has no special wish as to how the work should be listed. ","date_end":null,"reference":"","stream_count_app":24,"permalink":"they-almost-fit","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/519/large/they%20almost%20fit,%202006.jpg?1317989568","poster_credits":"(c)image: Roman März","translations":[{"locale":"en","description":"“It may be that there are more similarities than we think in these objects”, reads the text on the upper half of this wooden panel. At first sight, *They Almost Fit* is a collection of various materials grouped in between them in a way that they do not exactly fit. The dialogue between these elements is created through the way the artist has placed them, giving life to otherwise meaningless pieces of objects with the aid of short narratives, metaphors, word-play and quotes from other authors and from his own [artworks](http://ensembles.mhka.be/items/3607)."},{"locale":"nl","description":"'Het kan zijn dat er tussen deze objecten meer overeenkomsten zijn dan we denken', staat er in de tekst op de bovenste helft van dit houten paneel. Op het eerste gezicht is *They Almost Fit* een verzameling materialen van verschillende aard, die zodanig gegroepeerd werden dat ze niet precies passen. De dialoog tussen deze elementen wordt gecreëerd door de manier waarop de kunstenaar ze plaatste. Met behulp van korte verhalen, metaforen, woordspelingen en citaten – van andere auteurs en uit eigen [kunstwerken](http://ensembles.mhka.be/items/3607) – blaast hij leven in deze anders zinloze objectfragmenten."},{"locale":"fr","description":"« Il se pourrait qu'il y ait plus de similarité qu'on ne le pense entre ces objets », dit le texte sur la partie supérieure de ce panneau en bois. À première vue, *They Almost Fit* (Ils s'harmonisent presque) est une collection de matériaux divers groupés de façon à ne pas s'accorder parfaitement. La manière dont l'artiste a placé les divers éléments génère comme un dialogue entre eux et insuffle vie à des objets autrement insignifiants à travers de brèves narrations, des métaphores, des jeux de mots, des citations d'autres auteurs et l'évocation de ses propres [œuvres](http://ensembles.mhka.be/items/3607)."}]},{"id":915,"title":"A Stone Rejected by the Builder (1)","dimensions":"34 x 41 x 20 cm (stone), 55 x 48 x 35 cm (table)","date_begin":"2006-01-01","material":"stone, wood, acrylic paint","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":1,"collection":"Courtesy of the artist and Wien Lukatsch, Berlin","cached_tag_list":"","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 206, p. 211. Insurance value: 35.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational use. Should be listed as belonging to Galerie Barbara Wien Wilma Lukatsch, Berlin. Work must be wrapped by a transport company.","date_end":null,"reference":"","stream_count_app":29,"permalink":"a-stone-rejected-by-the-builder-1","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/708/large/39692009-01-28J-DURHAM-.jpg?1314263951","poster_credits":"(c)Musée d’Art moderne de la Ville de Paris / Thierry Langro","translations":[{"locale":"en","description":"The two pieces entitled *A Stone rejected by the builder* (1 and 2, link bellow) are stone blocks that have been abandoned by Arno Brecker, Hitler’s favourite artist, in his atelier in the Grünewald Forest - which many years later became [Jimmie Durham’s own atelier](http://ensembles.mhka.be/events/36).\r\nThe act of painting it (here in flashy pink and green, and in the [second version](http://ensembles.mhka.be/items/2487) in red) adds to these objects a new dimension. They gain a new, lighter, almost childish connotation, in opposition to their heavy association with the Nazi artist."},{"locale":"nl","description":"De twee werken onder de titel *Stone rejected by the builder* (1 en 2, link hieronder) zijn stenen blokken achtergelaten door Arno Brecker, Hitlers favoriete kunstenaar, in zijn atelier in het bos van Grünewald. Vele jaren later werd dat [atelier gebruikt door Jimmie Durham](http://ensembles.mhka.be/events/36).\r\nDe objecten krijgen een nieuwe dimensie door de daad van het schilderen (hier in flashy roze en groen, en in de [tweede versie](http://ensembles.mhka.be/items/2487) in rood). Ze krijgen een nieuwe, lichtere, bijna kinderlijke connotatie, in tegenstelling tot hun zwaarwichtige associatie met de nazikunstenaar. "},{"locale":"fr","description":"Les deux œuvres intitulées *Stone Rejected by the Builder* (1 \u0026 2, lien ci-dessous) sont des blocs de pierre abandonnés par Arno Brecker, l’artiste favori de Hitler, dans son atelier de la forêt de Grünewald – devenu longtemps après [le propre atelier de Jimmie Durham](http://ensembles.mhka.be/events/36).\r\nL’acte de les peindre (en rose et vert vif dans la première version et en rouge dans la [seconde](http://ensembles.mhka.be/items/2487)) les pierres leur donnent une nouvelle dimension. Elles sont dotées d’une nouvelle connotation, plus légère, quasi puérile, en opposition à l’association tellement chargée avec l’artiste nazi."}]},{"id":917,"title":"Thinking of You","dimensions":"300 x 150 x 150 cm, base : 99cm (diameter)","date_begin":"2008-01-01","material":"steel, aluminium","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":1,"collection":"Courtesy Galerie Michel Rein, Paris","cached_tag_list":"","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 214- 215.\r\nInsurance value: 45.000 euros. ","date_end":null,"reference":"","stream_count_app":41,"permalink":"thinking-of-you","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/715/large/477748.jpg?1308822028","poster_credits":"(c) Musée d'art Moderne de la Ville de Paris/Thierry Langro","translations":[{"locale":"en","description":"\"A couple years ago, the city of Brussels asked me to submit a design for a public sculpture for a traffic roundabout. It was an interesting project because the work should not be very interesting. The drivers should not be too distracted by art. We want them to drive carefully. I decided on a simple long metal pole with a branch near the top. A vulture is perched on the branch watching the traffic.\" [full text [here](http://ensembles.mhka.be/items/3212)]\r\n"},{"locale":"nl","description":"\"Een paar jaar geleden vroeg de Stad Brussel me om een ontwerp in te dienen voor een openbare sculptuur op een rotonde. Het was een interessant project omdat het werk niet erg interessant mocht zijn. De bestuurders mochten niet te veel afgeleid worden door kunst. We willen dat ze voorzichtig rijden. Ik besloot een eenvoudige lange metalen paal te ontwerpen met vlakbij de top een tak. Een gier is op de tak neergestreken en kijkt naar het verkeer.\" [Volledige tekst [hier](http://ensembles.mhka.be/items/3212)]"},{"locale":"fr","description":"« Il y a quelques années, la ville de Bruxelles m'a demandé de soumettre un projet de sculpture pour un rond-point. C'était un projet intéressant parce que l'œuvre ne devait pas être trop intéressante ; il ne faudrait pas que les automobilistes soient trop distraits par l'art. Nous voulons qu'ils roulent prudemment. J'ai décidé de faire un long poteau avec une branche près du sommet. Un vautour perché sur la branche surveille le trafic. » [texte intégral [ici](http://ensembles.mhka.be/items/3212)]"}]},{"id":2157,"title":"Un projet à Lille","dimensions":"","date_begin":"1996-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"MAJT, Lille, France\r\n// Un incident à Lille?","date_end":"1997-01-01","reference":"","stream_count_app":30,"permalink":"un-projet-a-lille","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/623/large/Sequence%2071.jpg?1314009073","poster_credits":"(c)Maria Thereza Alves","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2166,"title":"Eleven Stone Parts","dimensions":"variable dimensions","date_begin":"1998-01-01","material":"Mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection of Dora Stiefelmeier, Rome","cached_tag_list":"marble, mixed media","publishing_process_id":1,"annotation":"Currently in the possession of Dora Stiefelmeier, Rome, Italy. Pick-up in Paliano (Frosinone)","date_end":null,"reference":"","stream_count_app":26,"permalink":"eleven-stone-parts","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/157/large/142-m.jpg?1316179674","poster_credits":"(c)image: Marco Fedele di Catrano","translations":[{"locale":"en","description":"*Eleven Stone Parts* is a piece first made for the group exhibition *Indoor* in the Serre di Rapolano in Italy. The stones presented side-by-side are in fact - or so we’re told by the text Durham has placed next to it - the product of a [petrification](http://ensembles.mhka.be/items/842) process. Their labeling gives meaning to their form: they are pieces of petrified food: salami, pancetta, pecorino, mortadella, as well as sugar cubes and a melon.\r\n\r\nOne part of this setting is presented at the exhibition [*A Matter of life and Death and Singing*](http://ensembles.mhka.be/events/jimmie-durham-a-matter-of-life-and-death-and-singing), namely a marble case with a lid that can only be opened for 15 seconds at a time. Like in the installation [*Rocks Encouraged*](http://ensembles.mhka.be/items/1697), the artist’s instructions impose concentration and complicity between the viewer and the material."},{"locale":"nl","description":"*Eleven Stone Parts* werd oorspronkelijk gemaakt voor de groepstentoonstelling *Indoor* in de Serre di Rapolano in Italië. De naast elkaar opgestelde stenen zijn in feite het product van een proces van [verstening](http://ensembles.mhka.be/items/842) – dat zegt toch de tekst die Durham ernaast heeft geplaatst. De labels geven betekenis aan hun vorm: het zijn stukken versteend voedsel, zoals salami, pancetta, pecorino, mortadella, suikerklontjes en een meloen.\r\n\r\nEen deel van deze setting is onderdeel van de tentoonstelling [*Een kwestie van leven en dood en zingen*](http://ensembles.mhka.be/events/jimmie-durham-a-matter-of-life-and-death-and-singing), met name een marmeren kist met een deksel dat slechts vijftien seconden per keer kan worden geopend. De instructies van de kunstenaar vragen voor concentratie en medeplichtigheid tussen de kijker en het materiaal, net als bij de installatie [*Rocks Encouraged*](http://ensembles.mhka.be/items/1697)."},{"locale":"fr","description":"*Eleven Stone Parts* (Onze parties de pierre) a été réalisée pour l’exposition de groupe *Indoor* à Serre di Rapolano, en Italie. Les pierres présentées les unes à côté des autres sont en fait – c’est du moins ce que dit le texte qu’ajoute Durham – le produit d’un processus de [petrification](http://ensembles.mhka.be/items/842). Leur étiquetage donne du sens à leur forme : il s’agit de pièces de nourriture pétrifiée : salami, pancetta, pecorino, mortadelle, morceau de sucre, melon…\r\n\r\nUne partie de cette œuvre est présentée dans l’exposition [*A Matter of life and Death and Singing*](http://ensembles.mhka.be/events/jimmie-durham-a-matter-of-life-and-death-and-singing), à savoir une caisse en marbre avec un couvercle qui ne peut s’ouvrir chaque fois que 15 secondes. Comme dans l’installation [*Rocks Encouraged*](http://ensembles.mhka.be/items/1697), les instructions de l’artiste  imposent la concentration et la complicité entre le spectateur et le matériau."}]},{"id":2155,"title":"Eurasia, A Scent","dimensions":"25 x 7 x 10 cm","date_begin":"1997-01-01","material":"glass bottle, scent, textile","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":1,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003ealso called \u0026#39;Eurasian Perfume\u0026#39;. To be displayed on a wooden bench or table? Currently in the artist\u0026#39;s storage: Grossg\u0026ouml;rschenstrasse 6, 10827 Berlin, Sch\u0026ouml;neberg, Germany.\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":30,"permalink":"eurasia-a-scent","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":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/133/large/065-M.jpg?1316169873","poster_credits":"(c)image: Alfredo Pernin","translations":[{"locale":"en","description":"\u003cp\u003eIn 1995, Jimmie Durham made a [trip to Siberia](http://ensembles.mhka.be/items/3686) and found out that, just like in North America, there were black walnuts. The incredible smell of it reminded him of his childhood and he felt at home. He decided to make a perfume that would have an [Eurasian](http://ensembles.mhka.be/ensembles/eurasia) smell which he would in this way preserve, with the green black walnuts as special ingredients. Durham described it on a text accompanying the artwork [*Black walnut*](http://ensembles.mhka.be/items/1807): \u0026ldquo;I made an Eurasian perfume, mixing the fresh green shells of the walnut with sage, elderflower, rose and other plants (Black walnut is of course no longer native to Eurasia, but my premise was that it once had been.) The smells of the outer skin, shell and nutmeat are each distinctive, but all beautiful, sexy and spicy. The taste is too good to believe.\u0026rdquo;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn 1995 ontdekte Jimmie Durham op zijn [reis naar Siberi\u0026euml;](http://ensembles.mhka.be/items/3686) dat je daar zwarte walnoten hebt, net als in Noord-Amerika. De ongelofelijke geur ervan herinnerde hem aan zijn kindertijd; hij voelde zich meteen thuis. Hij besliste om een parfum te maken met een [Euraziatische](http://ensembles.mhka.be/ensembles/eurasia) geur, die hij op die manier kon bewaren, met de groene zwarte walnoten als bijzondere ingredi\u0026euml;nten. Durham besprak het in een begeleidende tekst bij het kunstwerk [*Black walnut*](http://ensembles.mhka.be/items/1807): \u0026ldquo;Ik ontwikkelde een Euraziatisch parfum, een mengeling van de verse groene bolsters van de walnoot met salie, vlierbloesem, rozen en andere planten (zwarte walnoot komt natuurlijk niet meer voor in Eurazi\u0026euml;, maar mijn uitgangspunt was dat die dat ooit wel is geweest). De geuren van het buitenste vel, de schaal en de noot zijn elk heel anders, maar allemaal prachtig, sexy en pikant. De smaak is onwaarschijnlijk goed.\u0026rdquo;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEn 1995, Jimmie Durham effectue un [voyage en Sib\u0026eacute;rie](http://ensembles.mhka.be/items/3686) et y d\u0026eacute;couvre qu\u0026rsquo;on trouve des noix noires, comme en Am\u0026eacute;rique du Nord. Leur odeur incroyable lui a rappel\u0026eacute; son enfance et il s\u0026rsquo;est senti \u0026agrave; la maison. Il d\u0026eacute;cide de cr\u0026eacute;er un parfum qui aurait la fragrance eurasienne qu\u0026rsquo;il pr\u0026eacute;serverait de la sorte, avec des noix noires r\u0026eacute;colt\u0026eacute;es vertes comme ingr\u0026eacute;dients sp\u0026eacute;cifiques. Dans un texte qui accompagne l\u0026rsquo;\u0026oelig;uvre [*Black walnut*](http://ensembles.mhka.be/items/1807), Durham \u0026eacute;crit\u0026nbsp;: \u0026laquo;\u0026nbsp;J\u0026rsquo;ai cr\u0026eacute;\u0026eacute; un parfum eurasien, m\u0026eacute;langeant des coques de noix fra\u0026icirc;ches, encore vertes, avec de la sauge, des fleurs de sureaux, des roses et d\u0026rsquo;autres plantes. (La noix noire n\u0026rsquo;est naturellement plus originaire d\u0026rsquo;Eurasie, mais je pars du principe qu\u0026rsquo;elle l\u0026rsquo;a un jour \u0026eacute;t\u0026eacute;.) Les odeurs distinctes de la coque, de la pellicule et de la chair des cerneaux sont caract\u0026eacute;ristiques, mais toutes excellentes, s\u0026eacute;duisantes et \u0026eacute;pic\u0026eacute;es. Le go\u0026ucirc;t est invraisemblable tant il est bon.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n"}]},{"id":2508,"title":"Untitled (Amenemope, an Egyptian soldier, 1370 BC)","dimensions":"45 x 30 cm","date_begin":"1992-01-01","material":"wood, iron, bone, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Private Collection, Belgium","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"Wall piece.\r\nPart of the Documenta 9 installation \"Approach in Love and Fear\"","date_end":null,"reference":"","stream_count_app":26,"permalink":"untitled-amenemope-an-egyptian-soldier-1370-bc","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/199/large/Durham_Jimmie___documenta_kassel_3.jpg?1336636713","poster_credits":null,"translations":[{"locale":"en","description":"This small text piece was part of Jimmie Durham’s installation [*Approach in Love and Fear*](http://ensembles.mhka.be/items/2514) at Documenta IX in 1992. It hung on the outside of the L-shaped wall inside which most part of the artworks were presented. According to the artist, this is an authentic text from 1370 BC which sets the tone for what the visitor will see next."},{"locale":"nl","description":"Dit werk maakte in 1992 deel uit van Jimmie Durhams installatie [*Approach in Love and Fear*](http://ensembles.mhka.be/items/2514) op Documenta IX. Het hing aan de buitenzijde van de L-vormige wand aan de binnenzijde waarvan het grootste deel van het kunstwerk werd gepresenteerd. Volgens de kunstenaar is dit een authentieke tekst uit 1370 voor Christus. Hij zet de toon voor wat de bezoeker daarna te zien krijgt."},{"locale":"fr","description":"Ce petit texte fait partie de l'installation [*Approach in Love and Fear*](http://ensembles.mhka.be/items/2514) que Jimmie Durham a réalisée pour la Documenta IX, en 1992. Il était accroché du côté extérieur du mur en L sur la face intérieure duquel la plupart des œuvres étaient présentées. Selon l'artiste, il s'agit d'un texte authentique datant de 1370 av. J.-C. qui donne d'emblée le ton de ce que le visiteur verra ensuite."}]},{"id":2127,"title":"The Fountain of the Two Birds","dimensions":"variable dimensions","date_begin":"1997-01-01","material":"plastic bottles, pvc gutter, water","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":"Courtesy of the artist","cached_tag_list":"pipes","publishing_process_id":1,"annotation":"Origin: Gal. Micheline Szwajcer\r\nImage Rights: FRAC\r\nWall piece.\r\nCurrently in the possession of FRAC-PACA, (double-check whereabouts with M.Swajcer or N. Erginot)","date_end":"2012-01-01","reference":"2001.462","stream_count_app":25,"permalink":"the-fountain-of-the-two-birds","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/011/large/012-M.jpg?1315573880","poster_credits":"image: (c) Philippe De Gobert","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2268,"title":"Untitled (Apecar)","dimensions":"variable dimensions","date_begin":"2004-01-01","material":"stone, car","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection La Gaia, Italy","cached_tag_list":"stoning, assemblage, mixed media","publishing_process_id":1,"annotation":"origin: Franco Soffiantino Gallery, Turin. Images (c): Luca Bianco?","date_end":null,"reference":"","stream_count_app":37,"permalink":"untitled-apecar","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/556/large/Img_0090.jpg?1313743874","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"“When I put a stone on an auto the violence is humorous cartoon violence. I do not think I am personally being violent. (Must I say that I am not advocating violence?)\r\nPerhaps in some small way this kind of work is metonymic more that metaphoric. Perhaps the auto comes to represent, not ‘civilization’ but culture in general, or – us. In that case the stone does indeed stand for “nature.” But that is not a translation of the piece. There is no translation of the piece.” [full text [here](http://ensembles.mhka.be/items/3214)]"},{"locale":"nl","description":"'Als ik een steen op een auto leg is het geweld humoristisch cartoongeweld. Ik denk niet dat ik persoonlijk gewelddadig ben. (Moet ik benadrukken dat ik geen bepleiter van geweld ben?) Dit soort werk is misschien een beetje meer metonymisch dan metaforisch. Misschien beeldt de auto niet 'de beschaving' uit, maar cultuur in het algemeen of – ons. In dat geval staat de steen inderdaad voor 'de natuur'. Maar dat is geen vertaling van het werk. Er is geen vertaling van het werk'. [volledige Engelse tekst [hier](http://ensembles.mhka.be/items/3214)]"},{"locale":"fr","description":"« Quand je pose une pierre sur une voiture, la violence de l'acte est celle d'une bande dessinée humoristique. Personnellement, je ne pense pas être quelqu'un de violent. (Dois-je ajouter que je ne préconise pas la violence ?)\r\nPeut-être que ce type d'œuvres est un peu plus métonymique que métaphorique. Peut-être la voiture en vient-elle à représenter non pas la “civilisation”, mais la culture en général, ou – nous. Dans ce cas, la pierre symbolise de fait la “nature”. Mais cela n'est pas une traduction de l'œuvre. Il n'y a pas de traduction de l'œuvre. » [texte intégral en anglais [ici](http://ensembles.mhka.be/items/3214)]"}]},{"id":2130,"title":"Do you Say I'm Lying?","dimensions":"62 x 66 x 17 cm","date_begin":"1995-01-01","material":"wood, canvas, paint, steel, sea shell, metal coin","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":2,"collection":"Collection Ellipse Foundation, Lisbon","cached_tag_list":"","publishing_process_id":1,"annotation":"also called: \"the text\"\r\nCurrently in the possession of Stichting Ellipse Foundation, Alcabideche, Lissabon","date_end":null,"reference":"","stream_count_app":75,"permalink":"do-you-say-i-m-lying","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/100/large/016-M.jpg?1316163693","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"This work was made for an [exhibition](http://ensembles.mhka.be/events/52) at Galeria Modulo, in Lisbon, where Durham used for each object a quote from the book *The Year of the Death of Ricardo Reis*, by José Saramago. Read Durham's story about it [here](http://ensembles.mhka.be/events/52).\r\n\r\nThe text on the artwork was written - on Saramago's request - in Portuguese, and reads:\r\n\"*Acha que minto, Não, que idéia, nós não mentimos, quando é preciso limitamo-nos a usar as palavras que mentem.*\" [Do you say I am lying?  Certainly not, we have never lied to each other; when precision limits us, we use words to lie for us]"},{"locale":"nl","description":"Dit werk werd gemaakt voor een [tentoonstelling](http://ensembles.mhka.be/events/52) in Galeria Módulo in Lissabon. Voor elk object gebruikte Durham een citaat uit het boek van José Saramago *Het jaar van de dood van Ricardo Reis*. Lees [hier](http://ensembles.mhka.be/events/52) wat Durham daarover vertelt. \r\n\r\nOp vraag van Saramago werd de tekst op het kunstwerk in Portugees geschreven. Er staat:\r\n\"*Acha que minto, Não, que idéia, nós não mentimos, quando é preciso limitamo-nos a usar as palavras que mentem.*\" [Beweer je dat ik lieg? Zeker niet, wij hebben nooit tegen elkaar gelogen; wanneer precisie ons beperkt, gebruiken we woorden om voor ons te liegen.]"},{"locale":"fr","description":"Cette œuvre a été réalisée pour une [exposition](http://ensembles.mhka.be/events/52) à la Galeria Módulo, à Lisbonne, où Durham a accompagné chaque objet d'une citation du livre *L'année de la mort de Ricardo Reis* de José Saramago. Vous pouvez lire [ici](http://ensembles.mhka.be/events/52) ce que Durham raconte à ce sujet.\r\n\r\nSur l'œuvre d'art, le texte figure en portugais – à la demande de Saramago – et dit : \r\n« *Acha que minto, Não, que idéia, nós não mentimos, quando é preciso limitamo-nos a usar as palavras que mentem.* » [Tu crois que je mens ? Non, quelle idée, nous ne nous sommes jamais menti, quand la précision nous limite, nous utilisons les mots pour mentir pour nous.]"}]},{"id":2505,"title":"Untitled","dimensions":"15 x 28 x 4 inch","date_begin":"1993-01-01","material":"plastic tube, wood, tape","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 Galerie Micheline Szwajcer, Antwerp","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JD100","stream_count_app":10,"permalink":"untitled--56","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/447/large/099_1993_Untitled_Plastic%20tube_JD100.jpg?1317805189","poster_credits":"(c)image: Philippe De Gobert","translations":[{"locale":"en","description":"Part of Durham's installation at the Whitney Biennial in 1992. See other works [here](http://ensembles.mhka.be/events/whitney-biennial)."},{"locale":"nl","description":"Dit werk maakte deel uit van Durhams installatie op de Whitney Biennial in 1992. Zie andere werken [hier](http://ensembles.mhka.be/events/whitney-biennial)."},{"locale":"fr","description":"Cet oeuvre faisait parti de l'installation de Durham à la Whitney Biennial en 1992. Vous pouvez voir les autres ouevres [ici](http://ensembles.mhka.be/events/whitney-biennial)."}]},{"id":2523,"title":"Nature Morte","dimensions":"00:00:45","date_begin":null,"material":"PAL","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":1,"collection":"Courtesy of Galerie Wien Lukatsch, Berlin","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":23,"permalink":"nature-morte","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/597/large/vlcsnap-2012-02-07-14h35m53s133.png?1328623635","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2176,"title":"Arc de Triomphe for Personal Use (Turquoise)","dimensions":"250 x 150 x 100 cm","date_begin":"1997-01-01","material":"painted metal","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection Institut d'art contemporain, Collection Rhône-Alpes","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"Provenance: Galerie Nordenhake, Berlin/ Sold in 2003/ Localisation : EXSITU ZON D : Réserve Ex Situ Niveau-1 Zone D depuis le 15 mars 2011. The work should be conserved and taken apart in two parts - simple assemblage","date_end":null,"reference":"2003.003","stream_count_app":30,"permalink":"arc-de-triomphe-for-personal-use-turquoise","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/054/large/arc.jpg?1332494997","poster_credits":null,"translations":[{"locale":"en","description":"\"The main piece in the [show in Calais](http://ensembles.mhka.be/events/la-porte-de-l-europe-les-bourgeois-de-calais) was an [*Arc de Triomphe For Personal Use*](http://ensembles.mhka.be/ensembles/arc-de-triomphe). It’s made of wood, so it’s lightweight and you can fold it up and take it away with you and set it up again, each time you need it. Whenever you felt like you had a triumph you could set it up and walk through it. The wood was painted bright red, yellow and blue—the art colors. \r\n\r\nI still like the piece, no one else has really liked it. I liked it so much that I even copied it for the Istanbul Biennial, last year, but I did it out of iron so it wouldn’t look so cute, and it was painted turquoise, because the show was in Turkey. It was a way of making iron look very light, like a drawing in air. It also folds up nicely and has wheels like a wheelbarrow.\" [full text [here](http://ensembles.mhka.be/items/3175)]"},{"locale":"nl","description":"\"Het belangrijkste stuk in de [tentoonstelling in Calais](http://ensembles.mhka.be/events/la-porte-de-l-europe-les-bourgeois-de-calais) was een [*Arc de Triomphe For Personal Use*](http://ensembles.mhka.be/ensembles/arc-de-triomphe). Hij is van hout, dus zeer licht, en je kan hem opvouwen en meenemen en opnieuw opstellen, telkens je hem nodig hebt. Elke keer dat je het gevoel had dat je een overwinning had behaald, kon je hem opstellen en er doorheen lopen. Het hout was helder rood, geel en blauw geschilderd – de kunstkleuren.\r\n\r\nIk hou nog steeds van het werk, niemand anders vond het echt leuk. Ik vond het zo leuk dat ik het zelfs heb gekopieerd voor de Biënnale van Istanbul, vorig jaar, maar ik maakte het in ijzer zodat het er niet zo schattig zou uitzien en ik schilderde het turkoois, want de tentoonstelling was in Turkije. Het was een manier om ijzer er heel licht te doen uitzien, zoals een tekening in de lucht. Hij vouwt ook mooi op en heeft wielen als een kruiwagen.' [Volledige tekst [hier](http://ensembles.mhka.be/items/3175)]"},{"locale":"fr","description":"« La pièce principale dans l'[exposition à Calais](http://ensembles.mhka.be/events/la-porte-de-l-europe-les-bourgeois-de-calais) était [*Arc de Triomphe For Personal Use*](http://ensembles.mhka.be/ensembles/arc-de-triomphe). L'œuvre était faite en bois, de manière à être légère et pliable, de pouvoir l'emporter avec soi et la monter chaque fois que l'on en a besoin. À chaque triomphe, on peut monter l'arc et marcher à travers. Le bois est peint en rouge, jaune et bleu – les couleurs de l'art.\r\n\r\nJ'aime toujours cette pièce, cependant personne d'autre ne l'a vraiment appréciée. Je l'aime tellement que je l'ai même copiée pour la Biennale d'Istanbul l'année passée, mais je l'ai réalisée en fer afin qu'elle ne soit pas trop charmante, et je l'ai peinte en turquoise, parce que l'exposition se déroulait en Turquie. C'était une façon de donner un aspect très léger au métal, comme un dessin dans l'air. Elle se plie aussi très bien et a des roulettes, comme une brouette.\" [texte intégral [ici](http://ensembles.mhka.be/items/3175)]"}]},{"id":2211,"title":"Suggested Proposal for a New Architecture n°1","dimensions":"70 x 8 x 8 cm","date_begin":"2004-01-01","material":"Stone, wood","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 of the artist and Galleria Franco Soffiantino, Turin","cached_tag_list":"stoning, mixed media, object","publishing_process_id":1,"annotation":"Wall piece.\r\nCurrently in the possession of Franco Soffiantino, Turin, Italy.\r\nCan be listed as in the possession of Galleria Franco Soffiantino. Work will is not framed, wrapped or crated.","date_end":null,"reference":"","stream_count_app":21,"permalink":"suggested-proposal-for-a-new-architecture-n-1","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/532/large/suggested%20proposal%20for%20new%20architecture.jpg?1313738753","poster_credits":"(c)image: Fulvio Richetto","translations":[{"locale":"en","description":"These proposals were first exhibited at the exhibition [*Le ragioni della leggerezza*](http://ensembles.mhka.be/events/le-ragioni-della-leggerezza-reasons-for-lightness) at Galleria Franco Soffiantino in 2004. Durham combines fragments of wooden furniture with stone and text and turns them into new objects. The lightness of the work is striking: Durham's proposal is diametrically opposed to the heavy monumentality of Western architecture. From the mid-1990s on, he takes astand against architecture and monumentality, seen as expressions of state power."},{"locale":"nl","description":"Deze voorstellen werden voor het eerst tentoongesteld op [*Le ragioni della leggerezza*](http://ensembles.mhka.be/events/le-ragioni-della-leggerezza-reasons-for-lightness) in de Galleria Franco Soffiantino in 2004. Durham combineert fragmenten van houten meubels met steen en tekst en maakt er nieuwe objecten mee. Opvallend is de lichtheid van de werken, Durhams voorstel staat lijnrecht ten opzicht  de zware monumentaliteit van de westerse architectuur. Vanaf midden jaren 90 verzet hij zich tegen architectuur en monumentaliteit als uitdrukking van macht van de staat. "},{"locale":"fr","description":"Ces propositions ont été présentées pour la première fois à l’exposition [*Le ragioni della leggerezza*](http://ensembles.mhka.be/events/le-ragioni-della-leggerezza-reasons-for-lightness) à la Galleria Franco Soffiantino, en 1994. Durham combine des parties de meubles en bois avec de la pierre et du texte et crée de nouveaux objets à partir de là. La légèreté des œuvres est remarquable. La proposition de Durham est diamétralement opposée à la monumentalité lourde de l’architecture occidentale. Depuis le milieu des années 90, il s’inscrit en faux contre l’architecture et la monumentalité comme expression du pouvoir de l’État."}]},{"id":2213,"title":"Suggested Proposal for a New Architecture n°3","dimensions":"88 x 27 x 10 cm","date_begin":"2004-01-01","material":"wood, stone, paper","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":"Private Collection, Italy","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"Wall piece.\r\nCurrently in the possession of Roberto Pino, Milano, Italy.","date_end":null,"reference":"","stream_count_app":21,"permalink":"suggested-proposal-for-a-new-architecture-n-3","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/826/large/JD_MISC_PHOTO_0095.jpg?1314704607","poster_credits":"(c)Fulvio Richetto","translations":[{"locale":"en","description":"These proposals were first exhibited at the exhibition [*Le ragioni della leggerezza*](http://ensembles.mhka.be/events/le-ragioni-della-leggerezza-reasons-for-lightness) at Galleria Franco Soffiantino in 2004. Durham combines fragments of wooden furniture with stone and text and turns them into new objects. The lightness of the work is striking: Durham's proposal is diametrically opposed to the heavy monumentality of Western architecture. From the mid-1990s on, he takes astand against architecture and monumentality, seen as expressions of state power."},{"locale":"nl","description":"Deze voorstellen werden voor het eerst tentoongesteld op [*Le ragioni della leggerezza*](http://ensembles.mhka.be/events/le-ragioni-della-leggerezza-reasons-for-lightness) in de Galleria Franco Soffiantino in 2004. Durham combineert fragmenten van houten meubels met steen en tekst en maakt er nieuwe objecten mee. Opvallend is de lichtheid van de werken, Durhams voorstel staat lijnrecht ten opzicht  de zware monumentaliteit van de westerse architectuur. Vanaf midden jaren 90 verzet hij zich tegen architectuur en monumentaliteit als uitdrukking van macht van de staat. "},{"locale":"fr","description":"Ces propositions ont été présentées pour la première fois à l’exposition [*Le ragioni della leggerezza*](http://ensembles.mhka.be/events/le-ragioni-della-leggerezza-reasons-for-lightness) à la Galleria Franco Soffiantino, en 1994. Durham combine des parties de meubles en bois avec de la pierre et du texte et crée de nouveaux objets à partir de là. La légèreté des œuvres est remarquable. La proposition de Durham est diamétralement opposée à la monumentalité lourde de l’architecture occidentale. Depuis le milieu des années 90, il s’inscrit en faux contre l’architecture et la monumentalité comme expression du pouvoir de l’État"}]},{"id":2210,"title":"Suggested Proposal for a New Architecture n°2","dimensions":"60 x 37 x 15 cm","date_begin":"2004-01-01","material":"Stone, wood","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 of the artist and Galleria Franco Soffiantino, Turin","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"Wall piece.\r\nCurrently in the possession of Franco Soffiantino, Turin, Italy.\r\nShould be mentioned as in possession of Galleria Franco Soffiantino.","date_end":null,"reference":"","stream_count_app":23,"permalink":"suggested-proposal-for-a-new-architecture-n-2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/825/large/JD_MISC_PHOTO_0094.jpg?1314704457","poster_credits":"(c)Fulvio Richetto","translations":[{"locale":"en","description":"These proposals were first exhibited at the exhibition [*Le ragioni della leggerezza*](http://ensembles.mhka.be/events/le-ragioni-della-leggerezza-reasons-for-lightness) at Galleria Franco Soffiantino in 2004. Durham combines fragments of wooden furniture with stone and text and turns them into new objects. The lightness of the work is striking: Durham's proposal is diametrically opposed to the heavy monumentality of Western architecture. From the mid-1990s on, he takes astand against architecture and monumentality, seen as expressions of state power."},{"locale":"nl","description":"Deze voorstellen werden voor het eerst tentoongesteld op [*Le ragioni della leggerezza*](http://ensembles.mhka.be/events/le-ragioni-della-leggerezza-reasons-for-lightness) in de Galleria Franco Soffiantino in 2004. Durham combineert fragmenten van houten meubels met steen en tekst en maakt er nieuwe objecten mee. Opvallend is de lichtheid van de werken, Durhams voorstel staat lijnrecht ten opzicht  de zware monumentaliteit van de westerse architectuur. Vanaf midden jaren 90 verzet hij zich tegen architectuur en monumentaliteit als uitdrukking van macht van de staat. "},{"locale":"fr","description":"Ces propositions ont été présentées pour la première fois à l’exposition [*Le ragioni della leggerezza*](http://ensembles.mhka.be/events/le-ragioni-della-leggerezza-reasons-for-lightness) à la Galleria Franco Soffiantino, en 1994. Durham combine des parties de meubles en bois avec de la pierre et du texte et crée de nouveaux objets à partir de là. La légèreté des œuvres est remarquable. La proposition de Durham est diamétralement opposée à la monumentalité lourde de l’architecture occidentale. Depuis le milieu des années 90, il s’inscrit en faux contre l’architecture et la monumentalité comme expression du pouvoir de l’État"}]},{"id":2487,"title":"A Stone Rejected by the Builder (2)","dimensions":"26 x 48 x 20 cm, 75 x 59 x 28 cm","date_begin":"2006-01-01","material":"Stone, wood, acrylic paint","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 of the artist and Wien Lukatsch, Berlin","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"Image Rights: Roman März, Berlin.\r\nInsurance value: 35.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational use. Should be listed as belonging to Galerie Barbara Wien Wilma Lukatsch, Berlin. The work must be wrapped by a transport company. ","date_end":null,"reference":"","stream_count_app":28,"permalink":"a-stone-rejected-by-the-builder-2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/517/large/stone%20rejected%202,%202006.jpg?1317989362","poster_credits":"(c)image: Roman März","translations":[{"locale":"en","description":"“It’s very poetic, isn’t it? I like it for the poetics of the idea of stones rejected by the builder. Several people have told me that it comes from the Bible, but I don’t know how it comes from the Bible. It doesn’t sound very Christian to me and I don’t know enough about the Bible to know where it might come from. But whether or not it’s from the Bible, when you say Stones Rejected by the Builder, you assume that there is a builder, which to me means an architect, and the fact that this builder can reject the stones means that the architect is hierarchically on top, he’s the boss of the city, the boss of our lives. It’s not a very nice idea to me.” [full text [here](http://ensembles.mhka.be/items/4620)]"},{"locale":"nl","description":"“Heel poëtisch, toch? Ik houd van de poëzie van het idee van stenen die zijn verworpen door de bouwer. Verschillende mensen vertelden me dat het uit de Bijbel komt, maar ik zou niet weten hoe het uit de Bijbel komt. Het klinkt niet erg Christelijk, en ik ken niet genoeg van de Bijbel om te weten waar het vandaan zou komen. Maar of het nu van de Bijbel komt of niet, wanneer je zegt ‘Stenen verworpen door de bouwer', veronderstel je dat er een bouwer is – dat wil volgens mij zeggen: een architect. En het feit dat deze bouwer stenen kan verwerpen, betekent dat de architect hiërarchisch aan de top staat: hij is de baas van de stad, de baas van onze levens. Dat vind ik geen aangenaam idee.” [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/4620)]"},{"locale":"fr","description":"« C'est très poétique, n'est-ce pas ? Je l'aime pour la poésie et l'idée de pierre rejetée par le bâtisseur. Plusieurs personnes m'ont dit que cela provenait de la Bible, mais je me demande comment cela pourrait être le cas. Cela ne me paraît pas très chrétien et je ne connais pas assez la Bible pour savoir où figurerait ce passage. Mais quoi qu'il en soit, biblique ou non, quand on dit “pierre rejetée par le bâtisseur”, on suppose qu'il y a un bâtisseur – ce qui signifie pour moi un architecte – et le fait que ce bâtisseur puisse rejeter la pierre veut dire que l'architecte est au sommet de la hiérarchie, il est le patron de la ville, le patron de nos existences. Cela ne me semble pas une très belle idée. » [texte intégral [ici](http://ensembles.mhka.be/items/4620)]"}]},{"id":2178,"title":"Corbel","dimensions":"33 x 39 x 22 cm","date_begin":"1994-01-01","material":"Painted wood, papier-mâché, polyester","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":"Private Collection, Antwerp","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"Origin: Galerie Micheline Szwajcer, Antwerp.\r\nTo be installed in the intersection of wall and ceiling.\r\nCurrently in the possession of Anny de Decker, Antwerp, Belgium.\r\nWood and polyester: 33 x 39 x 22 cm; Toile: 7 x 11,2 cm\r\nInsurance value 20.000. Should be listed as in the possession of a private collection in Antwerp. Permission the reproduce the object (pictures a.s.)","date_end":null,"reference":"","stream_count_app":35,"permalink":"corbel","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/410/large/216_1994_Corbel.jpeg?1333719753","poster_credits":"(c)image: Philippe De Gobert","translations":[{"locale":"en","description":"In architecture a corbel is a bracket used to support an architectural element above it. The term comes from Old French, meaning the diminutive of the word for 'crow'. In Jimmie Durham’s [*Architexture*](http://ensembles.mhka.be/events/132), the *Corbel* is made of black papier-mâché, a bird-like sculpture placed in the intersection between a beam or wall and the ceiling, as if ready to fly away and free itself from architecture."},{"locale":"nl","description":"In architectuur is een *corbel* (in het Nederlands: draagsteen of console) een beugel die een architecturaal element erboven ondersteunt. De term *corbel* komt uit het Oudfrans en is het verkleinwoord van het woord voor 'kraai'. In Jimmie Durhams [*architexture*](http://ensembles.mhka.be/events/132), is de *Corbel* gemaakt uit zwart papier-maché, een vogelachtige sculptuur in de kruising tussen een balk of de muur en het plafond, schijnbaar klaar om weg te vliegen en zichzelf van de architectuur te bevrijden."},{"locale":"fr","description":"En architecture, un *corbel* (corbeau) est un support utilisé pour soutenir un élément architectural au-dessus de lui. Le terme anglais de corbel vient de l'ancien français et était le diminutif du mot 'corbeau'. Dans l'[architexture](http://ensembles.mhka.be/events/132) de Jimmie Durham, *Corbel* est une sculpture faite de papier mâché noir, qui ressemble à un oiseau, placé entre une poutre ou un mur et le plafond, comme s'il était prêt à s'envoler et se libérer de l'architecture."}]},{"id":2514,"title":"Approach in Love and Fear","dimensions":"","date_begin":"1992-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":1,"collection":"","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"Corrected title according to Documenta IX catalogue: \"Approach in love and fear\"","date_end":null,"reference":"","stream_count_app":70,"permalink":"approach-in-love-and-fear","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/256/large/197.jpg?1322823364","poster_credits":null,"translations":[{"locale":"en","description":"*Approach in Love and Fear* is the title of the installation presented by Jimmie Durham at Documenta IX in 1992, installed at the ground floor of the Fridericianum in Kassel, Germany. Its central pieces were Durham’s [Jesus figure](http://ensembles.mhka.be/items/544) and [*Treff*](http://ensembles.mhka.be/items/559), setting the tone for all the other smaller pieces located in the space around it (see linked items ). Outside, other pieces located around a nearby park completed the ensemble, such as the long [PVC tube](http://ensembles.mhka.be/items/812) emerging from the waters of the river Aue and [two stones](http://ensembles.mhka.be/items/2761) displayed side-by-side, one labeled as “from the mountain” and the other “from the Red Palace”.\r\n\r\nRead Bart de Baere’s text about Jimmie Durham’s work in Documenta IX in the assets bellow."},{"locale":"nl","description":"*Approach in Love and Fear* is de titel van de installatie die Jimmie Durham in 1992 presenteerde op Documenta IX en die geïnstalleerd werd op de begane grond van het Fridericianum in Kassel (Duitsland). De centrale werken waren Durham's [*Jesus*](http://ensembles.mhka.be/items/544) en [*Treff*](http://ensembles.mhka.be/items/559), die de toon zetten voor alle andere kleinere werken die zich in de ruimte er omheen bevonden (zie de linked items). Buiten voltooiden werken rondom een nabijgelegen park het ensemble, zoals de lange [pvc-buis](http://ensembles.mhka.be/items/812) die uit de rivier de Aue opdook en [twee stenen](http://ensembles.mhka.be/items/2761) die naast elkaar lagen en als label respectievelijk 'THIS STONE IS FROM THE MOUNTAIN' en 'THIS STONE IS FROM THE RED PALACE' droegen.\r\n\r\nLees Bart de Baere's tekst over het werk van Jimmie Durham op Documenta IX bij de media hieronder."},{"locale":"fr","description":"*Approach in Love and Fear* est le titre de l'installation que Jimmie Durham a réalisée pour la Documenta IX, en 1992. Elle se trouvait au rez-de-chaussée du Fridericianum à Kassel. Les pièces centrales de l'installation étaient [*Jesus. (Es geht um die Wurst)*](http://ensembles.mhka.be/items/544) et [*Treff*](http://ensembles.mhka.be/items/559), ce qui donnait le ton de toutes les plus petites pièces situées dans des espaces avoisinants (voir les liens ci-dessous). À l’extérieur, d'autres œuvres installées autour du parc environnant complétaient l'ensemble, comme le long [tuyau en PVC](http://ensembles.mhka.be/items/812) qui émergeait de des berges de la rivière et les [deux pierres](http://ensembles.mhka.be/items/2761) disposées côte à côte, chacune dotée d'une inscription disant « This stone is from the mountain » (cette pierre est de la montagne) et « This stone is from the red palace » (cette pierre est du Palais rouge).\r\n\r\nLire à ce sujet le texte de Bart de Baere à propos de l'œuvre de Jimmie Durham à la Documenta IX ci-dessous."}]},{"id":2279,"title":"Still Life with Stone and Car","dimensions":"variable dimensions","date_begin":"2004-01-01","material":"car, stone, acrylic paint","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":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"Public Sculpture; currently at the intersection of Hickson Road and Pottinger Street, Walsh Bay, Sydney, Australia (Richard Hill)","date_end":null,"reference":"","stream_count_app":54,"permalink":"still-life-with-stone-and-car","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/591/large/Durham_SOH-1.jpg?1314002402","poster_credits":"image (c)Maria Thereza Alves","translations":[{"locale":"en","description":"\"In Sydney, for the Biennial, I did a very big stone with a car on top and my part of making the work was to go out and choose a car, go to the stone quarry and pick up a piece of stone. I painted the stone, I did something, I really am the artist. I don’t care if it looks like I’m the artist or not. It’s the action on the piece and the experience that’s interesting for me.\" [full text [here](http://ensembles.mhka.be/items/4620)]\r\n\r\nProduced for the Sydney Biennial 2004, now on permanent display in Sydney at the intersection of Hickson Road and Pottinger Street, Walsh Bay, Sydney, Australia."},{"locale":"nl","description":"“In Sydney plaatste ik voor de Biënnale een heel grote steen op een auto. Mijn deel van het werk was een auto gaan kiezen, naar de steengroeve gaan en een steen uitkiezen. Ik verfde de steen, ik deed iets; ik ben echt de kunstenaar. Het kan me niet schelen of het eruitziet alsof ik de kunstenaar ben of niet. Het is de actie op het werk en de ervaring die interessant zijn voor mij.” [Lees de volledige Engelse tekst [hier](http://ensembles.mhka.be/items/4620)]\r\n\r\nGemaakt voor de Sydney Biënnale in 2004, nu permanent te zien in Sydney"},{"locale":"fr","description":"« À Sydney, pour la Biennale, j'ai réalisé une œuvre composée d'une très grande pierre et d'une voiture. Mon travail a consisté à aller chercher une voiture et d'aller à la carrière choisir une pierre. J'ai peint la pierre, j'ai donc fait quelque chose, je suis vraiment l'artiste. Ça m'est égal d’avoir l'air de l'artiste ou pas. C'est l'action sur la pièce et l'expérience qui m'intéresse. » [texte intégral en anglais [ici](http://ensembles.mhka.be/items/4620)]\r\n\r\nProduit pour la Biennale de Sydney 2004, maintenant en exposition permanente à Sydney"}]},{"id":2499,"title":"Sonderbar kam es mir vor, daß sie diese Übung an einer alten Stadtmauer ohne die mindeste Bequemlichkeit für die Zuschauer vornehmen; warum sie es nicht im Amphitheater tun, wo so schöner Raum wäre!","dimensions":"39 x 15 x 15 inch","date_begin":"1993-01-01","material":"viewmaster, flood light bulb","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 of the artist","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"","date_end":"2012-01-01","reference":"JD108","stream_count_app":18,"permalink":"sonderbar-kam-es-mir-vor-dass-sie-diese-ubung-an-einer-alten-stadtmauer-ohne-die-mindeste-bequemlichkeit-fur-die-zuschauer-vornehmen-warum-sie-es-nicht-im-amphitheater-tun-wo-so-schoner-raum-ware","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/440/large/085_1992_Untitled_Vieuwmaster%20flood%20light%20bulb_JD108.jpg?1317803182","poster_credits":"(c)image: Philippe De Gobert","translations":[{"locale":"en","description":"Part of Durham's installation at the Whitney Biennial in 1992. See other works [here](http://ensembles.mhka.be/events/whitney-biennial)."},{"locale":"nl","description":"Dit werk maakte deel uit van Durhams installatie op de Whitney Biennial in 1992. Zie andere werken [hier](http://ensembles.mhka.be/events/whitney-biennial)."},{"locale":"fr","description":"Cet oeuvre faisait parti de l'installation de Durham à la Whitney Biennial en 1992. Vous pouvez voir les autres ouevres [ici](http://ensembles.mhka.be/events/whitney-biennial)."}]},{"id":2506,"title":"Untitled","dimensions":"4 x 6 x 10 inch","date_begin":"1993-01-01","material":"painted wood box, bone, glass","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 Galerie Micheline Szwajcer, Antwerp","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JD102","stream_count_app":10,"permalink":"untitled--57","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/448/large/094_1993_Untitled_Painted%20wood%20box_JD102.jpg?1317805318","poster_credits":"(c)image: Philippe De Gobert","translations":[{"locale":"en","description":"Part of Durham's installation at the Whitney Biennial in 1992. See other works [here](http://ensembles.mhka.be/events/whitney-biennial)."},{"locale":"nl","description":"Dit werk maakte deel uit van Durhams installatie op de Whitney Biennial in 1992. Zie andere werken [hier](http://ensembles.mhka.be/events/whitney-biennial)."},{"locale":"fr","description":"Cet oeuvre faisait parti de l'installation de Durham à la Whitney Biennial en 1992. Vous pouvez voir les autres ouevres [ici](http://ensembles.mhka.be/events/whitney-biennial)."}]},{"id":2500,"title":"mishap in the jungle. The rest of them were mostly Indians: tough young fellows with wiry strength and impassive faces. The whitest","dimensions":"6 1/4 x 31 x 1 1/8 inch","date_begin":"1993-01-01","material":"plywood, paper, paint","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 of the artist","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"mishap-in-the-jungle-the-rest-of-them-were-mostly-indians-tough-young-fellows-with-wiry-strength-and-impassive-faces-the-whitest","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/441/large/095_1992_Untitled_Plywood%20paper%20paint_JD106.jpg?1317803855","poster_credits":"(c)image: Philippe De Gobert","translations":[{"locale":"en","description":"Part of Durham's installation at the Whitney Biennial in 1992. See other works [here](http://ensembles.mhka.be/events/whitney-biennial)."},{"locale":"nl","description":"Dit werk maakte deel uit van Durhams installatie op de Whitney Biennial in 1992. Zie andere werken [hier](http://ensembles.mhka.be/events/whitney-biennial)."},{"locale":"fr","description":"Cet oeuvre faisait parti de l'installation de Durham à la Whitney Biennial en 1992. Vous pouvez voir les autres ouevres [ici](http://ensembles.mhka.be/events/whitney-biennial)."}]},{"id":2502,"title":"ελθων δ΄ εξ ορεος μεϒας αιετος αϒκυλοχειλης πασι κατ΄ αυχενας ηξε και εκτανεν","dimensions":"19 x 12 3/4 x 1 1/2 inch","date_begin":"1993-01-01","material":"axe handle, canvas,  metal","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 of the artist","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":20,"permalink":"","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/443/large/101_1992_Untitled_Axe%20handle_canvas_metal_JD105.jpg?1317804288","poster_credits":"(c)image: Philippe De Gobert","translations":[{"locale":"en","description":"Part of Durham's installation at the Whitney Biennial in 1992. See other works [here](http://ensembles.mhka.be/events/whitney-biennial)."},{"locale":"nl","description":"Dit werk maakte deel uit van Durhams installatie op de Whitney Biennial in 1992. Zie andere werken [hier](http://ensembles.mhka.be/events/whitney-biennial)."},{"locale":"fr","description":"Cet oeuvre faisait parti de l'installation de Durham à la Whitney Biennial en 1992. Vous pouvez voir les autres ouevres [ici](http://ensembles.mhka.be/events/whitney-biennial)."}]},{"id":2148,"title":"Enough!","dimensions":"00:02:40","date_begin":"1995-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":1,"collection":"Collection MAJT, Lille","cached_tag_list":"shot","publishing_process_id":1,"annotation":"Video production shot","date_end":null,"reference":"","stream_count_app":28,"permalink":"enough--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/754/large/Sequence%2016.jpg?1323340223","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2278,"title":"You Have Another Chance [U Heeft Nog Een Kans]","dimensions":"","date_begin":"2000-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":10,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":31,"permalink":"you-have-another-chance-u-heeft-nog-een-kans","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/013/large/DSCF0140.JPG?1315574270","poster_credits":"(c)image: Dirk Pauwels","translations":[{"locale":"en","description":"\"I would like to make an object. A sculptured thing that is part sculpture and part contraption, that would be pleasing to look at and also pleasing to operate, to use. (...) It wants to be built specifically for some corner in Gent, so that it fits the corner of the building and is (temporarily) attached to the building and completely takes the space, to the curb of the street. One cannot walk around it.\r\nOne side is an open door that has a turnstile, a sort of revolving door. Above the door, in several languages, large, bright lettering read: YOU HAVE ANOTHER CHANCE. The other side reads: GO BACK, RECONSIDER.\" [Jimmie Durham, December 1999]"},{"locale":"nl","description":"'Ik zou graag een object maken. Een gebeeldhouwd ding dat deels sculptuur, deels apparaat is, dat aangenaam zou zijn om naar te kijken en ook aangenaam om te bedienen, te gebruiken. (...) Het moet specifiek voor een hoek in Gent gebouwd worden, zodat het past in de hoek van het gebouw en (tijdelijk) aan het gebouw bevestigd is en de ruimte volledig inneemt, tot aan de stoeprand. Men kan er niet omheen lopen. \r\nDe ene kant is een open deur die een tourniquet, een soort draaideur heeft. Boven de deur staat te lezen, in verschillende talen en in grote, heldere letters: YOU HAVE ANOTHER CHANCE. Aan de andere kant staat: GO BACK, RECONSIDER'. [Jimmie Durham, december 1999]."},{"locale":"fr","description":"« Je voudrais faire un objet. Une chose sculptée, en partie sculpture, en partie engin, qui serait plaisante à regarder et plaisante à manipuler, à utiliser. (…) Il faudrait la construire pour un coin spécifique à Gand de manière à ce qu'elle épouse le coin du bâtiment, soit attachée (provisoirement) à cet immeuble et occupe tout l'espace jusqu'au bord du trottoir. On ne peut pas la contourner.\r\nUn côté est une porte ouverte dotée d'un tourniquet, une sorte de porte pivotante. Au-dessus de la porte, en plusieurs langues, de grandes lettres scintillantes disent : YOU HAVE ANOTHER CHANCE. De l'autre côté, il est écrit : GO BACK, RECONSIDER. » [Jimmie Durham, décembre 1999]"}]},{"id":2536,"title":"Where a heavy stone opened red, yellow and blue paint","dimensions":"100 x 120 cm","date_begin":"2006-01-01","material":"paint, tubes, canvas","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 of Galerie Wien Lukatsch, Berlin","cached_tag_list":"stoning","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"where-a-heavy-stone-opened-red-yellow-and-blue-paint","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/522/large/heavy%20stone...opened%20paint,%201997.jpg?1317990238","poster_credits":"(c)image: Roman März","translations":[{"locale":"en","description":"\"In Stockholm I started doing some things that didn’t quite work out, but they almost worked. Some did. They are called lithographs. I do it in different ways. For example, if I want to do a lithograph using red ink I put a tube of red ink on a piece of paper and drop a stone on it. If you drop a heavy stone on a pencil, the entire pencil is shown on your piece of paper. Other times I put paint or graphite directly on the stone and then throw the stone at paper or cloth or wood or something. They’re all lithographs, which is a term I have invented. It means making a graph using a stone.\" [full text [here](http://ensembles.mhka.be/items/3175)]"},{"locale":"nl","description":"“In Stockholm begon ik enkele dingen te doen die niet helemaal werkten, maar wel bijna werkten. Sommigen wel. Dat zijn lithografieën. Ik heb er verschillende manieren voor. Als ik een litho wil met rode inkt plaats ik een tube rode inkt op een blad papier en laat er een steen op vallen. Als je een zware steen op een potlood laat vallen, zie je het hele potlood op je blad papier. Andere keren bracht ik verf of grafiet rechtstreeks op de steen aan, en gooide de steen vervolgens naar papier of stof of hout of iets anders. Het zijn allemaal lithografieën, een term die ik heb uitgevonden. Het betekent: een grafie maken met een steen.” [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/3175)]"},{"locale":"fr","description":"« À Stockholm, j'ai commencé à faire des choses qui n'ont pas fonctionné, mais presque. Certaines ont fonctionné. Cela s'appelle des lithographies. Je les réalise de différentes manières. Par exemple, si je souhaite faire une lithographie avec de la peinture rouge, je place un tube d'encre rouge sur une feuille de papier et je jette une pierre dessus. Si l'on jette une pierre lourde sur un crayon, tout le crayon est visible sur la feuille de papier. D'autres fois, je mets de la peinture ou du graphite directement sur la pierre que je jette sur une feuille de papier, un tissu, un bout de bois ou autre chose. Ce sont toutes des lithographies, un terme que j'ai inventé. Cela signifie faire une gravure en utilisant une pierre. » [texte intégral [ici](http://ensembles.mhka.be/items/3175)]"}]},{"id":2488,"title":"Notwithstanding","dimensions":"107 x 78 cm","date_begin":"1998-01-01","material":"graphite, paper","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":"Courtesy of the artist and Wien Lukatsch, Berlin","cached_tag_list":"","publishing_process_id":1,"annotation":"Insurance value 7.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational use. Should be listed as belonging to Galerie Barbara Wien Wilma Lukatsch, Berlin. ","date_end":null,"reference":"","stream_count_app":29,"permalink":"notwithstanding","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/492/large/notwithstanding.JPG?1317904446","poster_credits":"image: (c) Nick Ash","translations":[{"locale":"en","description":"Jimmie Durham’s works on paper often stand on the border between drawings and visual poems. That is also the case for *Notwithstanding*, a drawing from 1998 in which the artist uses alliteration in words drawn around a geometrical form. \r\n\r\nDiscover more of Durham’s drawings in the ensemble [Drawings, display and other 2D Work](http://ensembles.mhka.be/ensembles/121)."},{"locale":"nl","description":"Jimmie Durhams werken op papier bevinden zich vaak op de grens tussen tekeningen en visuele gedichten. Dit is ook het geval voor *Notwithstanding* ('desondanks'), een tekening uit 1998 waarin de kunstenaar alliteratie gebruikt in woorden die rond een geometrische vorm zijn getekend. \r\n\r\nOntdek meer tekeningen van Durham in het ensemble [Drawings, display and other 2D Work](http://ensembles.mhka.be/ensembles/121)."},{"locale":"fr","description":"Les œuvres sur papier de Jimmie Durham se situent souvent à la limite du dessin et du poème visuel. Il en va de même pour *Notwithstanding* ('néanmoins'), un dessin de 1998 dans lequel l'artiste fait usage de l'allitération dans les mots dessinés autour d'une forme géométrique. \r\n\r\nDécouvrez plus de dessins de Durham dans l'ensemble [Drawings, display and other 2D Work](http://ensembles.mhka.be/ensembles/121)."}]},{"id":2463,"title":"Head","dimensions":"25 x 45 x 45 cm","date_begin":"2006-01-01","material":"wood, paper, hair, turquoise, metal tray, shell","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection of Maurizio Morra Greco, Naples","cached_tag_list":"assemblage, mixed media","publishing_process_id":1,"annotation":"Provenance Sprovieri, London.\r\nCurrently in the possession of Morra Greco, Naples, Italy.","date_end":null,"reference":"","stream_count_app":30,"permalink":"head","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/402/large/Head.jpg?1328101781","poster_credits":null,"translations":[{"locale":"en","description":"In 2006, the group exhibition [*Heads*](http://ensembles.mhka.be/events/heads) opened in London. According to Sprovieri Gallery’s press release, “much of the work in the exhibition has taken the purposelessness of making a portrait today as its point of departure. In dispensing with the history of the subject, the head assumes a peculiar versatility.” Jimmie Durham’s *Head* on a plate made for the same exhibition takes us closer to a more specific iconography: that of the head of St John the Baptist, regularly depicted with two heads, one attached to his body and another upon a plate either in his hands or at his feet."},{"locale":"nl","description":"In 2006 opende de groepstentoonstelling [*Heads*](http://ensembles.mhka.be/events/heads) in Londen. Het persbericht van Sprovieri Gallery stelt: “veel van het tentoongestelde werk nam als vertrekpunt de zinloosheid van het maken van een portret heden ten dage. Het hoofd neemt een bijzondere veelzijdigheid aan bij het verlaten van de geschiedenis van het subject.” Jimmie Durhams *Head* op een bord – gemaakt voor diezelfde tentoonstelling – leidt ons naar een meer specifieke iconografie: de Heilige Johannes de Doper wordt vaak afgebeeld met twee hoofden, een aan zijn lichaam, en een ander op een bord in zijn handen of aan zijn voeten. "},{"locale":"fr","description":"En 2006, l’exposition de groupe [*Heads*](http://ensembles.mhka.be/events/heads) s’ouvre à Londres. Selon le communiqué de presse de la Sprovieri Gallery, « une grande partie des œuvres de l’exposition a pris pour point de départ l’absence de sens de faire un portrait de nos jours. En rendant l’histoire du sujet superflue, la tête assume une adaptabilité particulière. » Ce tête sur un plateau, réalisées pour la même exposition, nous rapprochent d’une iconographie plus spécifique : celle de la tête de saint Jean Baptiste, régulièrement peint avec deux têtes, l’une attachée à son corps, et l’autre sur un plateau soit dans ses mains, soit à ces pieds."}]},{"id":2154,"title":"The Four Directions","dimensions":"variable dimensions","date_begin":"1996-01-01","material":"wood, metal, bone button","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Private Collection, Sweden","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"Wall pieces.\r\nCurrently in the possession of Lars Thulin, Lund, Sweden.Owner has agreed to having the work photographed for catalogue, TV, press and educational purposes. Should be listed as belonging yo a private collection.","date_end":null,"reference":"","stream_count_app":34,"permalink":"the-four-directions","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/127/large/062-a-M.jpg?1316169331","poster_credits":null,"translations":[{"locale":"en","description":"*The Four Directions* are four small sculptures each representing a cardinal point: North, South, East, West. In the exhibition [A Matter of Life and Death and Singing](http://ensembles.mhka.be/events/463), they are positioned slightly higher than the other artworks, indicating the direction to which they refer, as a point of reference that goes beyond the exhibition space."},{"locale":"nl","description":"*The Four Directions* (De vier richtingen) zijn vier kleine sculpturen die elk een hoofdwindrichting voorstellen: Noord, Zuid, Oost, West. In de tentoonstelling [Een kwestie van leven en dood en zingen](http://ensembles.mhka.be/events/463) zijn ze iets hoger geplaatst dan de andere kunstwerken, aangevend dat de richting naar waar ze verwijzen, een referentiepunt is dat de tentoonstellingsruimte overstijgt. "},{"locale":"fr","description":"*The Four Directions* (Les quatre directions) sont quatre petites sculptures qui représentent chacune un point cardinal : le Nord, le Sud, l'Est et l'Ouest. Dans l'exposition [Une question de vie et mort et chanter](http://ensembles.mhka.be/events/463) au M HKA, elles sont placées légèrement au-dessus des autres œuvres, indiquant la direction à laquelle elles font référence, comme un repère allant au-delà de l'espace d'exposition."}]},{"id":2193,"title":"Maquette for Public Monument for the Birthday of Rome","dimensions":"34 x 20 x 20 cm","date_begin":"1995-01-01","material":"mixed media","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":"Private Collection, Rome","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":25,"permalink":"maquette-for-public-monument-for-the-birthday-of-rome","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/152/large/141-m.jpg?1316178260","poster_credits":"image: (c) Dirk Pauwels","translations":[{"locale":"en","description":"\"So many poets have written that poetry “comes” to them. Happily, that happens to me with sculptures also. In 1995 Carolyn Christov-Bakargiev invited me to participate in a group event to celebrate the founding of Rome. For no reason I know about I decided to make a large interesting pile of trash.\r\nCarolyn needed a maquette for the catalog (or a drawing, which I can seldom do). I had no studio in Brussels but [Maria Thereza](http://ensembles.mhka.be/actors/maria-thereza-alves) had rented a space which I was able to borrow. The result is a miniature pile of interesting garbage that pleased me much. Carolyn still has it. The [actual trash pile](http://ensembles.mhka.be/items/2188) I made in Rome was so interesting that we needed a security guard to keep local people from taking parts they needed.\"[full text [here](http://ensembles.mhka.be/items/3934)]"},{"locale":"nl","description":"“Zoveel dichters schrijven hoe poëzie tot hen “komt”. Gelukkig gebeurt mij dat ook met beeldhouwwerken. In 1995 nodigde Carolyn Christov-Bakargiev me uit om deel te nemen aan een groepsevenement om de stichting van Rome te vieren. Zonder enige reden besloot ik om een grote interessante hoop rommel te maken.\r\nCarolyn had een maquette nodig voor de catalogus (of een tekening, wat ik maar zelden kan maken). Ik had geen studio in Brussel, maar [Maria Thereza](http://ensembles.mhka.be/actors/maria-thereza-alves) had een ruimte gehuurd die ik kon lenen. Het resultaat is een miniatuurhoop van interessant afval die me bijzonder goed beviel. Carolyn heeft die nog altijd. De [afvalberg](http://ensembles.mhka.be/items/2188) die ik in Rome had gemaakt, was zo interessant dat we een veiligheidsagent nodig hadden die de plaatselijke bevolking kon tegenhouden om stukken te nemen die ze konden gebruiken.” [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/3934)]"},{"locale":"fr","description":"« Tant de poètes ont écrit que la poésie “vient” à eux. Heureusement, cela m'arrive avec les sculptures. En 1995, Carolyn Christov-Bakargiev m'a invité à participer à un événement collectif pour célébrer la fondation de Rome. Pour une raison que j'ignore, j'ai décidé de créer un grand tas de détritus intéressants. Carolyn avait besoin d'une maquette pour le catalogue (ou un dessin, ce que je fais rarement). Je n'avais pas d'atelier à Bruxelles, mais [Maria Thereza](http://ensembles.mhka.be/actors/maria-thereza-alves) avait loué un espace que je pouvais emprunter. Le résultat était une miniature d'un tas de détritus intéressants qui me plaisait beaucoup. Carolyn l'a toujours. Le [vrai tas de détritus](http://ensembles.mhka.be/items/2188) que j'ai composé à Rome était tellement intéressant qu'il fallait un gardien pour empêcher les habitants locaux de prendre ce dont ils avaient besoin. » [texte intégral [ici](http://ensembles.mhka.be/items/3934)]"}]},{"id":1185,"title":"Rabbit","dimensions":"51 x 66 x 120 cm","date_begin":"1990-01-01","material":"Skull, shells, wood, paint, text","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private collection, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"Currently in the possession of Bart de Baere, Antwerp, Belgium.\r\nInsurance value: 30.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational purpose. Should be listed as belonging to a private collection, Antwerp.","date_end":null,"reference":"","stream_count_app":31,"permalink":"rabbit","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/091/large/Museu_de_Serralves_-_exposi%C3%A7%C3%A3o.jpg?1330337940","poster_credits":"(c)image: Rosino/Wikimedia Commons","translations":[{"locale":"en","description":"On a strange green totem-like structure - a rabbit, says the title -, made of machine parts and an animal skull decorated with beads and shells, hangs a piece of text. Handwritten, almost child-like, glued onto a piece of wood; a scientific text about light particles. The unexpected combination creates a contradiction between an object with an intentional “primitive” touch, answering to expectations of what exotic and non-civilized looks like, and the erudition of a scientific discourse which in its turn struggles to impose any authority."},{"locale":"nl","description":"Deze vreemde, groene, totemachtige structuur – een konijn, volgens de titel – is gemaakt van machine-onderdelen en een dierenschedel versierd met kralen en schelpen. Er hangt een stuk tekst aan. Handgeschreven, bijna kinderlijk, aan een stuk hout gekleefd; een wetenschappelijke tekst over lichtdeeltjes. De onverwachte combinatie creëert een tegenstelling tussen een object met een doelbewuste “primitieve” touch, dat beantwoordt aan de verwachtingen over exotisch en onbeschaafd, en aan de andere kant de geleerdheid van een wetenschappelijk discours dat op zijn beurt worstelt om enige autoriteit op te leggen. "},{"locale":"fr","description":"À une structure verte étrange, ressemblante à un totem – un lapin, dit le titre – et confectionnée avec des composantes de machine et un crâne d'animal, décorée de perles et de coquillages est suspendu un texte. Écrit à la main, d'une écriture quasi enfantine, collé sur une structure en bois, le texte scientifique porte sur les particules de lumière. La combinaison inattendue crée une contradiction entre d'une part, un objet avec une touche « primitive » intentionnelle, répondant aux attentes de ce qui semble exotique ou non civilisé, et d'autre part, l'érudition d'un discours scientifique qui s'efforce à son tour d'imposer quelque autorité."}]},{"id":1159,"title":"Untitled","dimensions":"49.2 x 38.4 x 6 cm","date_begin":"1992-01-01","material":"brass, mud, glue, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":1,"collection":"","cached_tag_list":"nose, Sculpture","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"untitled--55","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/407/large/103_1992_Untitled_Hammered%20brass_mud_white%20glue_wood_JD70.jpg?1317729776","poster_credits":"(c)image: Philippe De Gobert","translations":[{"locale":"en","description":"See [*Caliban Codex*](http://ensembles.mhka.be/ensembles/caliban-codex)"},{"locale":"nl","description":"Zie [*Caliban Codex*](http://ensembles.mhka.be/ensembles/caliban-codex)"},{"locale":"fr","description":"Voir [*Caliban Codex*](http://ensembles.mhka.be/ensembles/caliban-codex)"}]},{"id":1158,"title":"Untitled","dimensions":"38 x 25 x 11 cm","date_begin":"1992-01-01","material":"papier mâché, marble dust, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":1,"collection":"Private Collection, France","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"untitled","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/404/large/107_1992_Untitled_Papier%20mache_marble%20dust%20on%20wood_JD73.jpg?1317728123","poster_credits":null,"translations":[{"locale":"en","description":"See [*Caliban Codex*](http://ensembles.mhka.be/ensembles/caliban-codex)"},{"locale":"nl","description":"Zie [*Caliban Codex*](http://ensembles.mhka.be/ensembles/caliban-codex)"},{"locale":"fr","description":"Voir [*Caliban Codex*](http://ensembles.mhka.be/ensembles/caliban-codex)"}]},{"id":1163,"title":"Paradigm for an Arch","dimensions":"308 x 215 x 20 cm","date_begin":"1994-01-01","material":"Pvc pipe, wood, papier maché, horn, paper, polystyrene, cloth","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":1,"collection":"Collection FRAC Champagne-Ardenne, Rheims","cached_tag_list":"","publishing_process_id":1,"annotation":"Floor piece.\r\nCurrently in the possession of Frac-Paca, France (double-check the whereabouts with M. Zswajcer or with N. Erginot). Insurance value 15.000, loan-contract signed, contact: J.M. Dutheil. ","date_end":null,"reference":"","stream_count_app":44,"permalink":"paradigm-for-an-arch","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/645/large/!%20paradigm%20fa%20arch.jpg?1314018889","poster_credits":"(c)image: Philippe De Gobert","translations":[{"locale":"en","description":"One of the pieces presented at the exhibition [*Architexture*](http://ensembles.mhka.be/events/132) in Antwerp in 1994 was *Paradigm for an Arch*. It was the first time Durham would challenge the concept of the monumental arch (it later became a series with [*Arc de Triomphe for Personal Use*](http://ensembles.mhka.be/ensembles/208)), arranging pieces of wood, plastic, other materials and objects on the floor in the form of an arch. The shapes used on one side mirror the ones on the other side and each segment is labeled with a piece of paper with a name on it."},{"locale":"nl","description":"Een van de werken in de tentoonstelling [*Architexture*](http://ensembles.mhka.be/events/132) in Antwerpen in 1994 was *Paradigm for an Arch* (Paradigma voor een boog). Het was de eerste keer dat Durham het concept van de monumentale boog aanpakte (later zou het een reeks worden met [*Arc de Triomphe for Personal Use*](http://ensembles.mhka.be/ensembles/208)). Hij legde stukken hout, plastic, en andere materialen en voorwerpen op de grond in de vorm van een boog. De vormen aan de ene kant spiegelen die aan de andere kant, en elk segment is gelabeld met een papiertje met een naam op. "},{"locale":"fr","description":"L'une des pièces présentées à l'exposition [*Architexture*](http://ensembles.mhka.be/events/132) à Anvers en 1994 était *Paradigm for an Arch* (Paradigme d'arc). C'était la première fois que Durham remettait en question le concept de l'arc monumental (devenu plus tard une série avec [*Arc de Triomphe for Personal Use*](http://ensembles.mhka.be/ensembles/208)), en disposant en forme d'arc des pièces en bois, en plastique, d'autres matériaux et objets. Les formes utilisées d'un côté se reflètent de l'autre côté et chaque segment est étiqueté à l'aide de papier blanc qui porte leur nom."}]},{"id":1149,"title":"Miscellaneous Ludlow Characters","dimensions":"32.4 x 160.2 cm","date_begin":null,"material":"ink, paper, canvas","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":77,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":1,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JD13","stream_count_app":16,"permalink":"miscellaneous-ludlow-characters","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/376/large/165_1989_Miscellaneous%20Ludlow%20Characters_JD13.jpg?1317671384","poster_credits":null,"translations":[{"locale":"en","description":"\"In Ludlow, Colorado, sent a train-load of Pinkerton men to kill the striking miners. Mr. Rockefeller did it. The [Ludlow Massacre](http://en.wikipedia.org/wiki/Ludlow_Massacre) may be considered as a cause, a source of phenomena even today. But Rockefeller had nothing to do with building the Cathedral of St. John. He built Riverside Church a few blocks away from the cathedral. Of course, the National Council of Churches established its headquarters next door. Artist’s note: I left those bubbles in the paper so that you would know I’m not trying to trick you, like many of the artists do. But don’t worry: it’s completely preserved\""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1154,"title":"Untitled (Caliban's Mask)","dimensions":"24 x 16 x 5 cm","date_begin":"1992-01-01","material":"glass eyes, button, mud, PVC pipe, glue","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":1,"collection":"Private Collection, France","cached_tag_list":"mask","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":25,"permalink":"untitled-caliban-s-mask","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":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/352/large/caliban.jpg?1323091057","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eDear Dr. Prospero,\u003cbr /\u003e\r\nMay I, with great humility, please present to you, as an embarrasingly inadequate small token of my extreme gratitude for the constant encouragement, extreme patience and inspired friendship (I hope!) which you have so generously employed to show me a Better Way, this self-portrait? I hope you will always remember me. (But I still wish I knew what my nose looks like! ha ha!)\u003cbr /\u003e\r\nYour grateful student,\u003cbr /\u003e\r\nCaliban\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2214,"title":"Decorative Stones for Home","dimensions":"332 x 63 cm","date_begin":"2004-01-01","material":"Rug, semi-precious stones","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":105,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection, Italy","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"Origin: Franco Soffiantino Gallery, Turin.\r\nFloor piece.\r\nCurrently in the possession of Renato Alpegiani, Italy.","date_end":null,"reference":"","stream_count_app":26,"permalink":"decorative-stones-for-home","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/559/large/4%20decorative%20stone.jpg?1313744712","poster_credits":"(c)image: Fulvio Richetto","translations":[{"locale":"en","description":"For this artwork, made in 2004 on the occasion of the exhibition [*Reasons for Lightness*](http://ensembles.mhka.be/events/le-ragioni-della-leggerezza-reasons-for-lightness), Jimmie Durham covered a rug with semi-precious stones - a definition which fascinates the artist. Also referred to as gemstones, “semi-precious” stones are rocks or minerals which are cut and polished in order to make jewelry. They are however classified in a category lower than those considered as the real precious stones such as diamond, sapphire and emerald. "},{"locale":"nl","description":"Voor dit kunstwerk dat in 2004 gemaakt werd ter de gelegenheid van de tentoonstelling [*Le ragioni della leggerezza*](http://ensembles.mhka.be/events/le-ragioni-della-leggerezza-reasons-for-lightness) ('De redenen van de lichtheid') bedekte Jimmie Durham een tapijt met halfedelstenen – een omschrijving die de kunstenaar fascineert. 'Half'edelstenen zijn stenen of mineralen die geslepen en gepolijst worden om er sieraden van te maken. In de classificatie komen ze in een lagere categorie terecht dan stenen die beschouwd worden als echte edelstenen, zoals diamanten, saffieren en smaragden."},{"locale":"fr","description":"Pour cette œuvre réalisée en 2004 à l'occasion de l'exposition [*Le ragioni della leggerezza*](http://ensembles.mhka.be/events/le-ragioni-della-leggerezza-reasons-for-lightness), Jimmie Durham a couvert un tapis de pierres semi-précieuses – une définition qui fascine l'artiste. Les pierres semi-précieuses sont des pierres ou des minéraux taillés et polis pour en faire des bijoux. Elles sont classifiées dans une catégorie inférieure aux pierres considérées comme précieuses : le diamant, le saphir, l'émeraude, le rubis..."}]},{"id":2216,"title":"White Marble, Green Stone, Red Stone and Lavender Granite","dimensions":"180 x 80 cm","date_begin":"2004-01-01","material":"cardboard, photograph, stone","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":105,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Galleria Franco Soffiantino, Turin","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"Wall piece.\r\nCurrently in the possession of Franco Soffiantino, Turin, Itay.\r\nInsurance value: 20.000. Should be listed  as in the possession of Galleria Franco Soffiantino. Object not framed, wrapped of crated.","date_end":null,"reference":"","stream_count_app":23,"permalink":"white-marble-green-stone-red-stone-and-lavender-granite","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/827/large/DSCN1476a.jpg?1314705339","poster_credits":"(c)Fulvio Richetto","translations":[{"locale":"en","description":"This display is a combination of text, a photograph and objects. It was made for the exhibition [*Le ragioni della leggerezza*](http://ensembles.mhka.be/events/408) (Reasons for Lightness) in 2004 at Galleria Franco Soffiantino in Turin, Italy. It reveals us one of Jimmie Durham’s fascinations in his art-making process, namely the friction which can be caused when putting together language and image."},{"locale":"nl","description":"Deze display, een combinatie van een tekst, een foto en objecten, werd gemaakt voor de tentoonstelling [*Le ragioni della leggerezza*](http://ensembles.mhka.be/events/408) ('De redenen van de lichtheid') in 2004, in de Galleria Franco Soffiantino in Turijn. Ze toont ons een van de dingen die Jimmie Durham tijdens het creatieproces fascineren, namelijk de wrijving die veroorzaakt kan worden wanneer taal en beeld worden samengebracht."},{"locale":"fr","description":"Cette présentation, une combinaison de texte, de photographie et d'objets, a été réalisée pour l'exposition [*Le ragioni della leggerezza*](http://ensembles.mhka.be/events/408) (Les raisons de la légèreté) en 2004 à la Galleria Franco Soffiantino à Turin, en Italie. Elle nous révèle l'une des fascinations de Jimmie Durham dans son processus de création d'œuvres d'art, à savoir le conflit que peut causer l'usage conjoint de l'image et du langage."}]},{"id":2209,"title":"Black Shale on European Wood","dimensions":"90 x 93 x 51 cm","date_begin":"2004-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection Renato Alpegiani, Italy","cached_tag_list":"","publishing_process_id":1,"annotation":"origin: Franco Soffiantino Gallery, Turin","date_end":null,"reference":"","stream_count_app":15,"permalink":"black-shale-on-european-wood","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/558/large/3%20black%20shale.jpg?1313744556","poster_credits":"(c)image: Fulvio Richetto","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2182,"title":"Le bâton pour marquer le centre du monde à Reims","dimensions":"192 x 6 cm","date_begin":"1996-01-01","material":"wood, mirror","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":"Collection FRAC Champagn-Ardenne, Reims","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S96.2","stream_count_app":18,"permalink":"le-baton-pour-marquer-le-centre-du-monde-a-reims","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/147/large/114-M.jpg?1316176909","poster_credits":"image: (c) André Morin","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2288,"title":"The Piece of Wood","dimensions":"variable dimensions","date_begin":"2005-01-01","material":"print on paper, wood","short_description":"","art_status_id":48,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"","publishing_process_id":1,"annotation":"Wall piece. Currently in the artist's storage: Grossgörschenstrasse 6, 10827 Berlin, Schöneberg, Germany.","date_end":null,"reference":"","stream_count_app":40,"permalink":"the-piece-of-wood","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/558/large/ThePieceofWood_7043.jpg?1323252497","poster_credits":null,"translations":[{"locale":"en","description":"A piece of wood attached to the wall is the main character of a story told in a text hanging next to it. This anecdote starts at the Slovenian-Croatian border where a tree is planted. Throughout the text many other stories get intertwined in a chain of events and coincidences, all involving this piece of wood, eventually found by the narrator (Durham) in the waters of the Lido Beach in Venice. \r\n\r\nRead the full text in the assets bellow."},{"locale":"nl","description":"Een stuk aan de muur bevestigd hout is het hoofdpersonage van een verhaal dat verteld wordt in een tekst die ernaast hangt. De anekdote begint aan de Sloveens-Kroatische grens, waar een boom wordt geplant. Doorheen de tekst raken veel andere verhalen met elkaar verweven, in een keten van gebeurtenissen en toevalligheden. Allemaal hebben zie iets te maken met dit stuk hout, dat de verteller (Durham) uiteindelijk in de lagune aan het Lido van Venetië vindt.\r\n\r\nLees de volledige tekst bij de assets hieronder."},{"locale":"fr","description":"Une pièce en bois fixée au mur est le personnage principal d'une histoire racontée dans un texte qui jouxte l'œuvre. Cette anecdote commence à la frontière entre la Slovénie et la Croatie, où est planté un arbre. Tout au long du texte, plusieurs autres histoires s'imbriquent dans une succession d'événements et de coïncidences associés à ce morceau de bois que le narrateur (Durham) a finalement trouvé dans la lagune de Venise, à proximité du Lido."}]},{"id":2181,"title":"Homage to David Hammons","dimensions":"Variable dimensions","date_begin":"1997-01-01","material":"Porcelain, stone, PVC","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":1,"collection":"Collection of Karel and Martine Hooft, Belgium","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"Currently in the possession of Karel Hooft, St. martens Latem, België.","date_end":null,"reference":"","stream_count_app":33,"permalink":"homage-to-david-hammons","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/302/large/006_1996_Durham_Hommage%20to%20David%20Hammons.jpg?1317666681","poster_credits":"image: (c) Philippe De Gobert","translations":[{"locale":"en","description":"The [stoned](http://ensembles.mhka.be/ensembles/stoning) urinal hanging on the wall here is a double homage. It is a direct reference to the American artist [David Hammons](http://en.wikipedia.org/wiki/David_Hammons) who, is his turn, pays a homage to [Marcel Duchamp](http://en.wikipedia.org/wiki/Duchamp) through his artworks. In this case, the most evident connection is Hammons’ *Untitled* installation from 1990, when he placed [urinals on trees in a forest in Ghent](http://www.frieze.com/uploads/images/middle/hammons_slide.jpg). Jimmie Durham is an admirer of the work of David Hammons, who has proclaimed himself as the CEO of the DOC – the “Duchamp Outpatient Clinic”."},{"locale":"nl","description":"Het [gestenigd](http://ensembles.mhka.be/ensembles/stoning) urinoir hier aan de muur is een dubbele hommage. Het is een directe verwijzing naar de Amerikaanse kunstenaar [David Hammons](http://en.wikipedia.org/wiki/David_Hammons) die, op zijn beurt, in zijn kunstwerken een hommage brengt aan [Marcel Duchamp](http://nl.wikipedia.org/wiki/Marcel_Duchamp). De meest evidente link is in dit geval Hammons’ *Untitled*-installatie uit 1990, toen hij [urinoirs in bomen in een bos in Gent](http://www.frieze.com/uploads/images/middle/hammons_slide.jpg) hing. Jimmie Durham is een bewonderaar van het werk van David Hammons, die zichzelf uitriep tot de CEO van de DOC – de “Duchamp Outpatient Clinic”."},{"locale":"fr","description":"L'urinoir [caillassé](http://ensembles.mhka.be/ensembles/stoning) accroché au mur est un double hommage. Une référence directe à l'artiste états-unien [David Hammons](http://fr.wikipedia.org/wiki/David_Hammons), qui, à son tour, rend hommage à [Marcel Duchamp](http://fr.wikipedia.org/wiki/Marcel_Duchamp) à travers ses œuvres d'art. Ici, le lien le plus évident est l'installation Untitled de 1990 de Hammons, qui avait placé [des urinoirs sur des arbres dans une forêt à Gand](http://www.frieze.com/uploads/images/middle/hammons_slide.jpg). Jimmie Durham admire l'œuvre de David Hammons, l'artiste qui s'est proclamé PDG de la DOC, la Duchamp Outpatient Clinic (clinique ambulatoire Duchamp)."}]},{"id":2280,"title":"On Contact [Over Contact]","dimensions":"","date_begin":"2003-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":29,"permalink":"on-contact-over-contact","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in the catalogue for the exhibition *Plug-In*. Prague: Fine Art Unternehmen Books, 2004, pp.49–50 (and as a [“new year’s book”](http://ensembles.mhka.be/items/849) by M HKA, Antwerp, 2009)"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2282,"title":"Untitled (Kind of Like a Road Movie)","dimensions":"","date_begin":null,"material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"untitled-kind-of-like-a-road-movie","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2283,"title":"Why Beauty—(why not?)","dimensions":"","date_begin":null,"material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"why-beauty-why-not","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2188,"title":"Public Monument for the Birthday of Rome","dimensions":"250 x 450 x 250 cm","date_begin":"1995-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":1,"collection":"","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"Citta Natura, Roma\r\nDESTROYED.\r\nImages: (c): Claudio di Carlo","date_end":null,"reference":"","stream_count_app":29,"permalink":"public-monument-for-the-birthday-of-rome","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/778/large/durham%20rome%201%20M.jpg?1314348915","poster_credits":"image: (c) Claudio Abate","translations":[{"locale":"en","description":"\"[The *Public Sculpture for Rome*] was a trash heap, a dump. It was the anniversary of Rome, which was 3,000 years old. They invited a lot of artists. Outside I made my monumental dump. It was marvelous doing it. We ultimately had to have security guards for the dump, because during the day people would come and they would try to take it. I helped them, I tried to say, This is art, would you please not touch the art.\" [full text here]"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1228,"title":"The Bluebird of Happiness and the Miner's Canary","dimensions":"300 x 80 x 90 cm","date_begin":"2008-01-01","material":"Hat rack base (american black walnut wood), truck rear-view mirror, deer antler, television antena, paint brushes, acrylic paint, drumsticks, pins, oak sapling","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":1,"collection":"Hunting Collection, the Netherlands","cached_tag_list":"","publishing_process_id":1,"annotation":"Provenance: kurimanzutto, Mexico City.\r\ncurrently in the possession of Rick Hunting, Eindhoven, The Netherlands.\r\nInsurance value: 65.000 euros. Owner as agreed to having the work photographed for catalogue, press, TV and educational purposes. Should be listed as belonging to Collection Hunting. Work is crated: 336 x 93 x 124 cm (outside weight 225 kg).","date_end":null,"reference":"JD2452","stream_count_app":40,"permalink":"the-bluebird-of-happiness-and-the-miner-s-canary","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":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/844/large/JD2452.jpg?1328882478","poster_credits":"image: (c) Michel Zabé and Omar Luis Olguin","translations":[{"locale":"en","description":"\"I\u2029 was \u2029rum \u2029ageing through\u2029 some\u2029 junk \u2029in \u2029the \u2029Piemonte \u2029area \u2029of \u2029Italy \u2029and \u2029found\u2029 the \u2029base \u2029of \u2029this \u2029sculpture.\u2029\r\nIt\u2029 had\u2029 been\u2029 a\u2029 beautiful,\u2029 hand‐made\u2029 base\u2029 for\u2029 a\u2029 hat\u2029 rack\u2029 made\u2029 of\u2029 American\u2029 black\u2029 walnut\u2029 wood,\u2029 so\u2029\r\ndamaged\u2029 by\u2029 worms,\u2029 that\u2029 it\u2029 had\u2029 been\u2029 thrown\u2029 away.\u2029 I\u2029 took\u2029 it\u2029 to\u2029 my\u2029 studio\u2029 in\u2029 Rome,\u2029 treated\u2029 for\u2029 all\u2029\r\ninfestations \u2029and \u2029then \u2029put\u2029 a \u2029special \u2029hardening\u2029 agent \u2029on \u2029the \u2029areas \u2029that \u2029were \u2029rotten. \u2029I \u2029then \u2029varnished \u2029the\u2029\r\nentire \u2029thing \u2029and\u2029 let \u2029it\u2029 sit \u2029in \u2029my \u2029studio \u2029while \u2029it \u2029thought. \u2029(...)\r\n\r\nI \u2029had \u2029in \u2029my\u2029 Studio \u2029some \u2029brightly \u2029colored \u2029clothes pins, \u2029which \u2029looked \u2029a \u2029little \u2029like \u2029birds \u2029so \u2029I \u2029stuck \u2029them\u2029 on to \u2029the \u2029top\u2029 of \u2029the \u2029sculpture.\u2029 One\u2029 looked\u2029 like\u2029 the \u2029blue bird\u2029 of \u2029happiness \u2029and \u2029one \u2029looked \u2029like \u2029the \u2029miner's \u2029canary.\u2029 And \u2029I \u2029wondered \u2029what \u2029kind \u2029of \u2029song \u2029these \u2029two\u2029 birds \u2029would \u2029sing. \u2029The \u2029sculpture \u2029itself\u2029 said,\u2029'classic\u2029rock'.\" [read the full text bellow]"},{"locale":"nl","description":"\"Ik was aan het kijken tussen wat rommel in de Italiaanse regio Piemonte, toen ik er de basis van dit beeld vond. Het was ooit de mooie, handgemaakte voet voor een hoedenplank uit Amerikaans zwart walnotenhout; zo door wormen beschadigd dat hij weggegooid was. Ik nam hem naar mijn studio in Rome, behandelde hem tegen alle plagen en bracht dan een speciale verharder aan op de verrotte delen. Vervolgens lakte ik het hele ding en liet het zitten in mijn studio terwijl het nadacht. (...)\r\n\r\nIn mijn studio had ik enkele felgekleurde wasknijpers, die een beetje op vogels leken, dus ik bevestigde ze bovenop de sculptuur. Eentje leek op de blauwe vogel van geluk en een andere op de kanarie van de mijnwerker. En ik vroeg me af wat voor liedje die twee vogels zouden zingen. De sculptuur zelf zei ‘classic rock’.\" [Lees de volledige tekst hieronder]"},{"locale":"fr","description":"« Je fouillais à travers du bric-à-brac dans le Piémont, en Italie, et j'ai trouvé le point de départ de cette sculpture : un magnifique présentoir à chapeaux artisanal, en noyer noir d'Amérique, entièrement rongé par les vers. Ce qui explique qu'on l'ait jeté. Je l'ai emporté dans mon atelier à Rome où j'ai traité toutes les infestations, puis recouvert les parties pourries d'un agent durcissant spécial. Ensuite, j'ai verni le tout et je l'ai laissé dans mon atelier pendant qu'il réfléchissait. (...)\r\n\r\nDans mon atelier, j'avais quelques pinces à linge de couleurs vives, qui ressemblaient à de petits oiseaux. Je les ai fixées en haut de la sculpture. L'une ressemblait à l'oiseau bleu du bonheur et l'autre à un canari de mine de charbon. Je me suis demandé quel genre de chansons ces deux oiseaux auraient chantées. La sculpture m'a répondu : 'du rock classique'. » [texte intégral à lire plus bas]"}]},{"id":3941,"title":"Virginia/Veracruz (London)","dimensions":"","date_begin":"1992-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"also called Columbus Day","date_end":null,"reference":"","stream_count_app":26,"permalink":"virginia-veracruz-london","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/442/large/JD_MISC_PHOTO_0124_London_1992.jpeg?1331304296","poster_credits":"image: (c) Peter Barker","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1384,"title":"Untitled (Radio)","dimensions":"147 x 35 x 23 cm","date_begin":"2005-01-01","material":"Mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Private Collection, Vienna","cached_tag_list":"radio, mixed media","publishing_process_id":1,"annotation":"Currently in the possession of DI Christian Aichernig, Vienna, Austria. (crating still has to be constructed)\r\nbase: 121 x 35 x 23 cm","date_end":null,"reference":"","stream_count_app":28,"permalink":"untitled-radio","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/634/large/Durham%20radio_1.jpg?1314017194","poster_credits":"Courtesy of Christine König Galerie, Vienna","translations":[{"locale":"en","description":"Jimmie Durham’s *Radio* is a piece composed of various parts of found objects and was made as part of the same installation as artworks like [*The Tower Was Equipped with a Glass Safety Shield*](http://ensembles.mhka.be/items/1385) and [*A Fountain in Case Your Roof Leaks*](http://ensembles.mhka.be/items/1377), which are also shown in this [exhibition](http://ensembles.mhka.be/events/jimmie-durham-a-matter-of-life-and-death-and-singing) at the M HKA."},{"locale":"nl","description":"Jimmie Durhams *Radio* is een werk dat bestaat uit verschillende gevonden voorwerpen. Het werd gemaakt als onderdeel van dezelfde installatie als de werken [*The Tower Was Equipped with a Glass Safety Shield*](http://ensembles.mhka.be/items/1385) en [*A Fountain in Case Your Roof Leaks*](http://ensembles.mhka.be/items/1377), die ook beide op de [tentoonstelling](http://ensembles.mhka.be/events/jimmie-durham-a-matter-of-life-and-death-and-singing) hier in het M HKA te zien zijn."},{"locale":"fr","description":"*Radio* de Jimmie Durham est une œuvre composée de diverses parties d'objets trouvés et a été réalisée en tant qu'élément de l'installation qui comprenait les œuvres [*The Tower Was Equipped with a Glass Safety Shield*](http://ensembles.mhka.be/items/1385) et [*A Fountain in Case Your Roof Leaks*](http://ensembles.mhka.be/items/1377), toutes deux exposées dans cette [exposition](http://ensembles.mhka.be/events/jimmie-durham-a-matter-of-life-and-death-and-singing) au M HKA."}]},{"id":1385,"title":"The Tower Was Equipped with a Glass Safety Shield","dimensions":"66 x 30 x 17 cm","date_begin":"2006-01-01","material":"Mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":1,"collection":"Courtesy of Christine König Galerie, Vienna","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"Currently in the possession of the Christine König Gallery, Vienna, Austria.\r\nInsurance value of 75.000,-. May be reproduced but only with courtesy of Christine Koening Galerie, Vienna. \r\n(crated 75 x 36,5 x 24,5 cm)","date_end":null,"reference":"","stream_count_app":32,"permalink":"the-tower-was-equipped-with-a-glass-safety-shield","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/631/large/CF001720.jpg?1314016602","poster_credits":"Courtesy of Christine König Galerie, Vienna","translations":[{"locale":"en","description":"On a peculiar tower made of sculpted wood stands a figurine protected by a “glass safety shield”. This piece, made for the exhibition [*Glass*](http://ensembles.mhka.be/events/jimmie-durham-glass) in Vienna in 2006, is a play with a material which according to Jimmie Durham, is “so hard, yet so breakable!” and therefore not appropriate as a shield. \r\n\r\nSee more of Durham’s comments about glass on the [exhibition](http://ensembles.mhka.be/events/jimmie-durham-glass) page and on a [handwritten note](http://ensembles.mhka.be/items/3938) from 1995."},{"locale":"nl","description":"Op een bijzondere toren gemaakt van bewerkt hout staat een beeldje dat beschermd is door een glazen beschermkap (*glass safety shield*). Dit stuk, in 2006 gemaakt voor de tentoonstelling [*Glass*](http://ensembles.mhka.be/events/jimmie-durham-glass) in Wenen, is een spel met een materiaal dat volgens Jimmie Durham 'zo hard, en toch zo breekbaar!' is en daarom niet geschikt als beschermkap. \r\n\r\nZie meer opmerkingen van Durham over glas op de [tentoonstellings](http://ensembles.mhka.be/events/jimmie-durham-glass)pagina en op een [handgeschreven notitie](http://ensembles.mhka.be/items/3938) uit 1995."},{"locale":"fr","description":"Sur une tour à l'allure comique se trouve une figurine protégée par une « cloche de protection en verre ». Cette œuvre réalisée pour l'exposition [*Glass*](http://ensembles.mhka.be/events/jimmie-durham-glass) à Vienne en 2006 est un jeu avec un matériau qui, selon Durham, est « si dur, et en même temps si fragile ! » et pour cela, tout à fait inapproprié à la protection. Pour lire plus de commentaires de Jimmie Durham sur le verre, veuillez consulter la page de [l'exposition](http://ensembles.mhka.be/events/jimmie-durham-glass) et une [note manuscrite](http://ensembles.mhka.be/items/3938) de 1995."}]},{"id":1381,"title":"The Names of the Team of Scientists who Submitted an Article on the Human Chromosome 14 in Nature Magazine, February 2003.","dimensions":"130 x 100 cm","date_begin":"2003-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection of Harrie Kolen, the Netherlands","cached_tag_list":"assemblage","publishing_process_id":1,"annotation":"Origin: Christine König Galerie, Vienna. Wall piece.\r\nhttp://www.nature.com/nature/journal/v421/n6923/abs/nature01348.html\r\nCurrently in the possession of Harrie Kolen, Waalre, The Netherlands.\r\nInsurance value: 60.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational purpose. Should be listed as belonging to Harrie Kolen.\r\n","date_end":null,"reference":"","stream_count_app":27,"permalink":"the-names-of-the-team-of-scientists-who-submitted-an-article-on-the-human-chromosome-14-in-nature-magazine-february-2003","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/635/large/J.Durham%20Chromosome%2014.jpg?1314017309","poster_credits":"Courtesy of Christine König Galerie, Vienna","translations":[{"locale":"en","description":"On three wooden panels joined by screws and plastic wire, Jimmie Durham attached (in print or writing) the names of 99 scientists who, in 2003, identified 1050 genes and 393 [pseudogenes](http://en.wikipedia.org/wiki/Pseudogene), about 96% of what constitutes the Chromosome 14. Humans have in their genetical code two copies of this chromosome, each inherited from each parent. It represents about 3,5% of our total DNA and its genes perform various roles in the human body. Through this discovery, 60 disease genes have be localized as well as 2 areas of crucial importance for the study of our immune system."},{"locale":"nl","description":"*De namen van het team wetenschappers dat een artikel over het menselijk chromosoom 14 publiceerde in het tijdschrift Nature, februari 2003*.\r\nOp drie houten panelen, bij elkaar gehouden door schroeven en plastic draad, bevestigde Jimmie Durham (gedrukt of handgeschreven) de namen van 99 wetenschappers. In 2003 hadden zij 1050 genen en 393 [pseudogenen](http://nl.wikipedia.org/wiki/Pseudogen) geïdentificeerd, wat ongeveer 96% van chromosoom 14 uitmaakt. Mensen hebben in hun genetische code twee versies van dat chromosoom, elk geërfd van één van hun beide ouders. Het staat voor 3,5% van ons hele DNA en zijn genen vervullen verschillende rollen in het menselijk lichaam. Dankzij deze ontdekking werden zestig ziektegenen gelokaliseerd, en twee gebieden van cruciaal belang voor de studie van ons immuunsysteem."},{"locale":"fr","description":"*Le nom de l'équipe de scientifiques ayant soumis un article sur le chromosome 14 dans la revue Nature, février 2003.*\r\nSur trois panneaux de bois joints par des vis et du fil plastique, Jimmie Durham a apposé les noms (imprimés ou écrits à la main) de 99 scientifiques qui ont identifié, en 2003, 1 050 gènes et 393 [pseudogènes](http://fr.wikipedia.org/wiki/Pseudog%C3%A8ne), soit quelque 96 % de ce qui constitue le chromosome 14. Dans leur code génétique, les humains sont porteurs de deux copies de ce chromosome, hérité chacun d'un parent. Il représente environ 3,5 % de notre ADN et ses gènes jouent plusieurs rôles dans le corps humain. À travers cette découverte, 60 gènes responsables de maladie ont été localisés ainsi que deux zones d'une importance cruciale pour l'étude de notre système immunitaire."}]},{"id":2302,"title":"Heisenberg Principle","dimensions":"","date_begin":"1989-01-01","material":"mixed media","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":"","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JD15","stream_count_app":22,"permalink":"heisenberg-principle","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/358/large/162_1989_Hiesenberg%20Principle_JD15.jpg?1317668089","poster_credits":null,"translations":[{"locale":"en","description":"\"Mathematicians look for elegance in a new equation; when they find it they realize that it is poetry that has been found. One would not say that ∆E∆≥h/4π. (this is *Heisenberg’s Uncertainty Principle*) is “art” without being insulting. But it is poetry, and it is highly useful.\" [full text [here](http://ensembles.mhka.be/items/3216)]\r\n\r\n*Heisenberg’s Uncertainty Principle* is a theory that basically states that position and momentum of a particle cannot be simultaneously known. In other words, the fact that you are able to observe something already influences your findings and renders the result of observation useless. To demonstrate his theory, Heisenberg said we should imagine a box with has a kitten inside; as long as the box is closed we will not know what is happening inside it and the kitten can be only *potentially* dead or alive."},{"locale":"nl","description":"\"Wiskundigen zoeken in een nieuwe vergelijking naar elegantie; wanneer ze die vinden, realiseren ze zich dat ze poëzie hebben gevonden. Je kunt niet zeggen dat ∆E∆≥h/4π. (Heisenbergs onzekerheidsrelatie) \"kunst\" is zonder beledigend over te komen. Maar het is poëzie, en bijzonder nuttig.\" [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/3216)]\r\n\r\nHeisenbergs onzekerheidsrelatie is een theorie die stelt dat plaats en impuls van een grootheid niet simultaan gekend kunnen zijn. Met andere woorden: het feit dat je iets kan observeren beïnvloedt al je bevindingen en maakt het resultaat van observatie waardeloos. Om zijn theorie aan te tonen zei Heisenberg dat we ons een doos met een kat in moeten inbeelden: zolang de doos gesloten blijft, zullen we niet weten wat er binnenin gebeurt, en de kat kan *mogelijk* dood of levend zijn."},{"locale":"fr","description":"« Les mathématiciens cherchent de l'élégance dans une nouvelle équation, quand il la trouve, ils se rendent compte que c'est de la poésie. On n'irait pas jusqu'à dire que ∆E∆≥h/4π (le principe d'incertitude de Heisenberg) est de “l'art”, ce serait offensant. Mais c'est de la poésie, et c'est très utile. [texte intégral [ici](http://ensembles.mhka.be/items/3216)]\r\n\r\nLe principe d'incertitude Heisenberg est une théorie qui affirme en somme que la position et le moment d'une particule ne peuvent pas être connus simultanément. En d'autres termes, le fait de pouvoir observer quelque chose influence les découvertes et rend le résultat de l'observation inutile. Pour démontrer cette théorie, Heisenberg disait qu'il fallait imaginer un chaton dans une caisse vide, tant que la caisse est fermée, on ne saura pas ce qui se passe à l'intérieur et le chaton peut être *potentiellement* mort ou vivant."}]},{"id":2306,"title":"Les faux-tarots des franc-plombiers","dimensions":"variable dimensions","date_begin":"1994-01-01","material":"paint, canvas","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 of the Institut d'Art Contemporain, Villeurbanne, France","cached_tag_list":"painting","publishing_process_id":1,"annotation":"Origin: Gal. Micheline Szwajcer, Antwerp Wall piece. Currently in the possession of FRAC Rhone Alpes - IAC Villeurbanne, Vileurbanne, France. Insurance value: 24.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational purpose. Should be listed as belonging to Collection de L'Institut d'art contemporain, Rhones-Alpes.","date_end":null,"reference":"","stream_count_app":42,"permalink":"les-faux-tarots-des-franc-plombiers","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/220/large/209_1994_Le%20faut_Tarot%20des%20Franc-Plombier.jpg?1322470812","poster_credits":"(c)image: Philippe De Gobert","translations":[{"locale":"en","description":"On-going project, started in 1994 at the exhibition [*Architexture*](http://ensembles.mhka.be/events/architexture) in Antwerp. The framed watercolour drawings are presented in the form of crosses.\r\n\r\n“Italo Calvino, if he had been in Marseille with Sandra Cattini and I after the crusades had ended, could have explained that the “Faut Tarot” of the Franc-Plombiers were actually older and more authentic in spirit than other inspirational, historical, or fortune-telling devices, because one may use them for architectural instruction”. [full text by Jimmie Durham bellow]"},{"locale":"nl","description":"Lopend project, begonnen in 1994 op de tentoonstelling [*Architexture*](http://ensembles.mhka.be/events/architexture) in Antwerpen. De ingelijste aquarels worden getoond in de vorm van kruisen. \r\n\r\n“Als Italo Calvino bij Sandra Cattini en ik in Marseille was geweest na afloop van de kruistochten, had hij kunnen uitleggen dat de “Faut Tarot” van de Franc-Plombiers in feite ouder en authentieker in geest waren dan andere middelen ter inspiratie, geschiedkunde of waarzeggerij, omdat men ze kan gebruiken voor architecturale instructie.” [Lees de volledige van Jimmie Durham tekst onderaan]"},{"locale":"fr","description":"Un projet en cours, entamé en 1994 lors de l'exposition [*Architexture*](http://ensembles.mhka.be/events/architexture) à Anvers. Les dessins à l'aquarelle encadrés sont présentés sous forme de croix.\r\n\r\n« Italo Calvino, s'il avait été à Marseille avec Sandra Cattini et moi après la fin des croisades, aurait pu expliquer que le \"Faux Tarot\" des Francs-Plombiers est en fait plus ancien et plus authentique dans l'esprit que d'autres moyens édifiants, historiques, ou de divination, parce qu'on pourrait l'utiliser pour des consignes architecturales. » [texte intégral de Jimmie Durham ci-dessous] "}]},{"id":2295,"title":"Pole for the center of the World and Brussels (sic)","dimensions":"185 x 6 x 6 cm","date_begin":"1995-01-01","material":"wood, mirror, cable","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy Galerie Micheline Szwajcer, Antwerp","cached_tag_list":"assemblage, mixed media","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":17,"permalink":"pole-for-the-center-of-the-world-and-brussels-sic","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/350/large/014_1995_Durham_Pole%20for%20the%20center%20of%20the%20world%20and%20Brussels.jpg?1317667003","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1421,"title":"A Stone Bra for the Venus de Milo","dimensions":"30 x 40 cm, 42 x 29.7 cm","date_begin":"1998-01-01","material":"Chalk, ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection of Dora Stiefelmeier, Rome","cached_tag_list":"assemblage","publishing_process_id":1,"annotation":"Event: Ad Absurdum / Energies of the Absurd from Mondernism till today.\r\nWall piece.\r\nCurrently in the possession of Dora Steiffelmeier, Rome, Italy. Pick up in Paliano (Frosinone).\r\nInsurance value 40.000 euros. Owner has agreed for the object to be photographed for catalogue, press, TV and educational purpose. Can be listed as belonging to Dora Steifelmeier, Rome.","date_end":null,"reference":"","stream_count_app":30,"permalink":"a-stone-bra-for-the-venus-de-milo","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/471/large/DSC_0535.jpg?1337777109","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"A photo of the famous sculpture *Venus de Milo* is pinned to the wall next to a bra covered in plaster. The association calls our attention to the physicality of the material, along with its sensuality and beauty on the one hand and its unnatural aspect on the other. “The curves of carved marble do not look like human bodies’ curves except in crass form”, - said Jimmie Durham - “If you saw a person the color of that white marble, you would be sure it was a supernatural person or some sort of robot.”"},{"locale":"nl","description":"Een foto van de beroemde *Venus van Milo* werd gespeld naast een met gips bedekte beha. Door de associatie wordt onze aandacht gericht op het fysische van het materiaal: aan de ene kant is er de sensualiteit en de schoonheid van het beeldje, aan de andere kant zijn onnatuurlijke aanblik. Volgens Jimmie Durham lijken 'de rondingen van gebeeldhouwd marmer niet op de rondingen van het menselijke lichaam, het zij dan in lompe vorm. Moest je iemand zien die de kleur zou hebben van dat witte marmer, dan zou je overtuigd zijn dat het een bovennatuurlijke persoon was, of een soort robot.'"},{"locale":"fr","description":"Une photographie de la fameuse *Vénus de Milo* est épinglée à côté d'un soutien-gorge recouvert de plâtre. L'association attire notre attention sur l'aspect charnel du matériau, sa sensualité et sa beauté d'une part, son apparence très peu naturelle, d'autre part. « Les courbes du marbre sculpté ne ressemblent pas à celles d'un corps humain, ou alors de manière grossière », affirme Jimmie Durham. « Si vous aperceviez une personne de la couleur de ce marbre blanc, vous seriez convaincus de vous trouver face à un être surnaturel ou à un robot. »"}]},{"id":3942,"title":"Virginia/Veracruz (Madrid)","dimensions":"","date_begin":"1992-01-01","material":"","short_description":"Location: Edge 92 Festival, Madrid, Spain.","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"installation and performance with Maria Thereza Alves and Alan Michelson","date_end":null,"reference":"","stream_count_app":22,"permalink":"virginia-veracruz-madrid","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/449/large/JD_MISC_PHOTO_0120_MADRID_1992.jpeg?1331304713","poster_credits":"image: (c) Peter Barker","translations":[{"locale":"en","description":"installation and performance with Maria Thereza Alves and Alan Michelson"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2520,"title":"A Heavy Stone","dimensions":"00:01:00","date_begin":"1996-01-01","material":"PAL","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Courtesy of Galerie Wien Lukatsch, Berlin","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":41,"permalink":"a-heavy-stone","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/747/large/durham-stone-1.jpg?1323339995","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2516,"title":"Incident at Middelburg","dimensions":"00:01:12","date_begin":"1996-01-01","material":"PAL","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of Galerie Wien Lukatsch, Berlin","cached_tag_list":"collected stones","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":25,"permalink":"incident-at-middelburg","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/594/large/vlcsnap-2012-02-07-14h52m06s139.png?1328622665","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"\"In the video a stone attempts to answer the telephone. The telephone is on the ground, looking very similar to Joseph Beuys’s [*Earth Telephone*](http://ensembles.mhka.be/items/3940). This, I’m sorry to confess, is simply one of those coincidences that so often happen. I was not commenting on Beuys’s telephone. At that time I did not know of it.\" [full text [here](http://ensembles.mhka.be/items/3934)]"},{"locale":"nl","description":"'In de video probeert een steen een oproep te beantwoorden. De telefoon staat op de grond en lijkt erg op de [*Earth Telephone*](http://ensembles.mhka.be/items/3940) van Joseph Beuys. Het spijt me dat ik dit moet bekennen, maar dit is gewoon een van die toevalligheden die zo vaak voorkomen. Ik leverde geen commentaar op Beuys' telefoon. Op dat moment wist ik niet dat hij bestond.' [Volledige Engelse tekst [hier](http://ensembles.mhka.be/items/3934)]"},{"locale":"fr","description":"« Dans la vidéo, une pierre tente de répondre au téléphone. Celui-ci est posé par terre et ressemble au  [*Earth Telephone*](http://ensembles.mhka.be/items/3940) de Joseph Beuys. Je suis au regret d'avouer qu'il s'agit de l'une de ces coïncidences qui arrivent si souvent. Je ne commentais pas le téléphone de Beuys. À cette époque, je ne le connaissais même pas. » [texte intégral en anglais [ici](http://ensembles.mhka.be/items/3934)]"}]},{"id":2317,"title":"Confessional Hair and Dirt on Canvas Piece","dimensions":"185 x 90 x 15 cm","date_begin":"2006-01-01","material":"Hair, dirt, canvas, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":1,"collection":"Collection Hunting Beheer bv., The Netherlands","cached_tag_list":"assemblage, mixed media","publishing_process_id":1,"annotation":"Provenance: Lumen Travo Gallery, Amsterdam.\r\nCurrently in the possession of Rick Hunting, Eindhoven, the Netherlands.\r\nInsurance value: 20.500 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational purposes. Should be listed as belonging to Collection Hunting.","date_end":null,"reference":"","stream_count_app":29,"permalink":"confessional-hair-and-dirt-on-canvas-piece","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/769/large/02.jpg?1314346831","poster_credits":"(c)image: Edo Kuipers","translations":[{"locale":"en","description":"An odd piece of black-painted canvas (with hair and dirt, so we’re told) hangs on the wall of the exhibition space. It comments on his own bizarre existence, while assuming his status as a work of art since made by an artist: “MR. DURHAM MADE ME WITHOUT STOPPING TO THINK OF HIS ART CAREER NOR, I AM SORRY TO SAY, THE SENSITIVITIES OF THE GENERAL ART PUBLIC”."},{"locale":"nl","description":"Een vreemd stuk zwartgeverfd canvas (met haar en vuil, naar verluidt) hangt aan de muur van de tentoonstellingsruimte. Het becommentarieert zijn eigen bizarre bestaan, terwijl het zich zijn status van kunstwerk aanmeet, gezien door een kunstenaar gemaakt: “MR. DURHAM MADE ME WITHOUT STOPPING TO THINK OF HIS ART CAREER NOR, I AM SORRY TO SAY, THY THE SENSITIVITIES OF THE GENERAL ART PUBLIC” (“Mr. Durham maakte mij zonder zijn kunstcarrière uit het oog te verliezen of, het spijt me dit te moeten zeggen, de gevoeligheden van het algemene kunstpubliek”)."},{"locale":"fr","description":"Une pièce étrange, composée d'une toile peinte en noir (avec des cheveux et de la poussière, comme nous le dit le titre) est accrochée aux murs de l'espace d'exposition. Elle commente sa propre existence bizarre, tandis qu'elle assume son statut d'œuvre d'art puisqu'elle a été réalisée par un artiste : MR DURHAM MADE ME WITHOUT STOPPING TO THINK OF HIS ART CAREER NOR, I AM SORRY TO SAY, THE SENSITIVITIES OF THE GENERAL ART PUBLIC (M. Durham m'a réalisée sans arrêter de penser à sa carrière artistique ni, je suis désolée de le dire, à la sensibilité du grand public de l'art.)"}]},{"id":2517,"title":"A Stone from Metternich's House in Bohemia","dimensions":"00:00:30","date_begin":"1996-01-01","material":"PAL","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":21,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy of Galerie Wien Lukatsch, Berlin","cached_tag_list":"collected stones","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":44,"permalink":"a-stone-from-metternich-s-house-in-bohemia","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/808/large/A_Stone_from_Metternich's_House_1996_lowres.jpg?1334828864","poster_credits":"image: (c) Marco Fedele di Catrano","translations":[{"locale":"en","description":"\"I went to an old monastery in Plasy, Bohemia (Czech Republic) to establish a pole for the [center of the world](http://ensembles.mhka.be/ensembles/the-center-of-the-world). Metternich, the German who had become foreign minister of Austria in 1809, had bought the monastery and made it into one of his summer house. Metternich once said that asia begins at the Landgasse in Vienna.\r\n\r\nI brought a stone from the monastery to Vienna, to Ludwig Wittgenstein’s house.\r\nMetternich wanted Austria to save Europe (from the free-thinking French revolution) so he had to put a lot of people in stone dungeons below the beautiful buildings. Their screams added nothing to the sounds of the violins above.\" [full text [here](http://ensembles.mhka.be/items/2331)]"},{"locale":"nl","description":"'Ik ging naar een oud klooster in de Boheemse stad Plasy, in Tsjechië, om een *Pole to Mark the* [*Center of the World*](http://ensembles.mhka.be/ensembles/the-center-of-the-world) op te richten. Metternich, de Duitser die in 1809 minister van Buitenlandse Zaken van Oostenrijk was geworden, had het klooster gekocht en er zijn zomerhuis van gemaakt. Metternich heeft eens gezegd dat Azië aan de Landgasse in Wenen begint.\r\n\r\nIk bracht een steen van het klooster naar Wenen, naar het huis van Ludwig Wittgenstein.\r\nMetternich wou dat Oostenrijk Europa redde (van de vrijzinnige Franse Revolutie), dus moest hij een hoop mensen in stenen kerkers onder de prachtige gebouwen plaatsen. Hun geschreeuw voegde niets toe aan het geluid van de violen erboven.' [volledige Engelse tekst [hier](http://ensembles.mhka.be/items/2331)]"},{"locale":"fr","description":"« Je me suis rendu dans un ancien monastère à Plasy en Bohème (République Tchèque) pour y réaliser un poteau pour le [centre du monde](http://ensembles.mhka.be/ensembles/the-center-of-the-world). Metternich, l'Allemand devenu ministre des Affaires étrangères d'Autriche en 1809, y avait acheté le monastère et l'a transformé en résidence d'été. Metternich a un jour dit que l'Asie commence dans la Landgasse à Vienne.\r\n\r\nJ'ai ramené une pierre du monastère à Vienne, pour l'exposition The Libertine and the Stone Guest à la maison de Ludwig Wittgenstein.\r\nMetternich voulait que l'Autriche sauve l'Europe (de la Révolution française libre-penseuse), donc il lui a fallu enfermer beaucoup de gens dans des geôles en pierre sous des édifices magnifiques. Leurs cris n'ajoutaient rien au son des violons qui résonnait au-dessus. » [texte integral en anglais [ici](http://ensembles.mhka.be/items/2331)]"}]},{"id":1641,"title":"Triptych as Sandwich in Red Granite and Belgian Mail Sack","dimensions":"11 x 47 x 29 cm","date_begin":"1995-01-01","material":"red granite, belgian mail sack","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"Artist Certificate\r\nlocation: HT Transport, Berlin\r\nalso titled: 'Tryptich as sandwich in red granite and cotton'","date_end":null,"reference":"JD2301","stream_count_app":28,"permalink":"triptych-as-sandwich-in-red-granite-and-belgian-mail-sack","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/297/large/002_1997_Durham_Tryptich%20as%20sandwich_2.jpg?1317666449","poster_credits":null,"translations":[{"locale":"en","description":"\"I wasn’t even thinking about using stone, but I was thinking about what a triptych was, that it is like a sandwich. It has these two side things that you usually close and it’s the centre part that’s the roast beef. (...) \r\nWhat’s inside is an old Belgian mail sack that everyone in Belgium would recognize. That’s my favorite because it’s smaller and—I don’t remember—but there could still be a couple of letters inside. They would be the roast beef of the roast beef.\" [full text [here](http://ensembles.mhka.be/items/3175)]"},{"locale":"nl","description":"“Ik was niet over het gebruik van steen aan het denken, maar over wat een triptiek is, en dat een triptiek eigenlijk is zoals een boterham. Ze heeft twee buitenkanten die je gewoonlijk sluit, en het middelste deel is het roastbeef. (...) \r\nBinnenin is een oude Belgische postzak die iedereen in België zou herkennen. Geweldig vind ik dat, want die is kleiner en ik weet het niet meer zeker maar er zouden nog wat brieven in kunnen zitten. Die zouden het roastbeef van het roastbeef zijn.\" [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/3175)]"},{"locale":"fr","description":"« Je ne pensais pas à l’utilisation de la pierre, mais je réfléchissais à ce qu’est un triptyque, au fait qu’il est comme un sandwich. Il y a ces deux choses réversibles que l’on ferme d’habitude sur la partie centrale, le rosbif. (…) Ce qu'il y a à l'intérieur est un sac de la poste qu'en Belgique chacun reconnaîtrait d'emblée. C’est mon modèle préféré parce qu’il est plus petit et qu’il pourrait – je ne me souviens plus si c’était le cas – encore contenir quelques lettres. Elles seraient alors le rosbif du rosbif. » [texte intégral [ici](http://ensembles.mhka.be/items/3175)]"}]},{"id":2328,"title":"Zinnias","dimensions":"","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"flowers","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"zinnias","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in the book Malmö Art Academy 95–05. Malmö: Malmö Art Academy, 2005, p.51"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2334,"title":"The Right to Dismiss","dimensions":"","date_begin":"2002-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"museum, language, architecture","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"the-right-to-dismiss","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *October*, no 11, Spring 2002, pp.78–79"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2336,"title":"Personal Triumphs of the Fourth Kind","dimensions":"","date_begin":"2001-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"Eurasia, Europe","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"personal-triumphs-of-the-fourth-kind","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in the catalogue for the exhibition *ARS 01:Unfolding Perspectives* at Kiasma, Helsinki, 2001, p.77"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2338,"title":"In the Joyeria of the Zanahorias","dimensions":"","date_begin":"2003-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"language","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"in-the-joyeria-of-the-zanahorias","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in the catalogue for the exhibition *Jimmie Durham: Semi-Specific Objects and Almost-Related Words* at the Leopold-Hösch-Museum in Düren, 2003, pp.11–28, and in Gagarin, edition 7 volume 4 no 1. Wassmunster, Belgium, 2003, pp.12–19"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2339,"title":"Belief in Europe","dimensions":"","date_begin":"2000-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"Europe, Third World, belief","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"belief-in-europe","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *Unpacking Europe*. Salah Hassan \u0026 Iftikhar Dadi (eds.). Rotterdam: Museum Boijmans van Beunengen/NAI Publishers, pp.290–293"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2341,"title":"Anders Tornberg","dimensions":"","date_begin":"2002-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":11,"permalink":"anders-tornberg","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2343,"title":"A Gift To The Future","dimensions":"","date_begin":"2001-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"a-gift-to-the-future","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *4FREE*. Berlin: Büro Friedrich and Revolver, 2002, p.87"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1638,"title":"Une machine désire de l'instruction comme un jardin désire de la discipline","dimensions":"Variable dimensions","date_begin":"1996-01-01","material":"Wood, cotton thread, print on paper","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 Ellipse Foundation, Lisbon","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"location: HT Transport, Berlin\r\n'Le channel', Galerie de l'Ancienne Poste, Calais (F)\r\nprovenance: Galerie Micheline Szwajcer, Antwerp.\r\nCurrently in the possession of Stichting Ellipse Foundation, Alcabideche, Lissabon.\r\nImage Rights: Frederic Lefever (rights cleared).\r\nInsurance value: 15.000 euros. Should be picked up in Portugal. ","date_end":null,"reference":"","stream_count_app":34,"permalink":"une-machine-desire-de-l-instruction-comme-un-jardin-desire-de-la-discipline","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/107/large/029-M.jpg?1316165038","poster_credits":"image(c) Frédéric Lefever","translations":[{"locale":"en","description":"In 1996,  these two pieces of weaving tools where shown at the exhibition [*La porte de l'Europe (les bourgeois de Calais)*](http://ensembles.mhka.be/events/48). Calais is a place where lace has traditionally been produced since the nineteenth century through a system of punch cards with patterned holes instructing a sequence of operations. \r\n\r\nThe text hanging above the pieces gives an extra dimension to the concept of this artwork, comparing the automatism of the binary lace-making machines (perhaps the forefather of the computer) with the orderly [*jardin à la française*](http://goo.gl/lfHzV)."},{"locale":"nl","description":"In 1996 werden deze twee stukken weefgereedschap getoond in de tentoonstelling [*La porte de l'Europe (les bourgeois de Calais)*](http://ensembles.mhka.be/events/48). Calais is een plek waar traditioneel kant wordt geproduceerd sinds de 19e eeuw, aan de hand van ponskaarten met een patroon van gaatjes die een opeenvolging van handelingen in gang zetten. \r\n\r\nDe tekst erboven geeft een extra dimensie aan het concept van dit kunstwerk, en vergelijkt het automatisme van de binaire kantklosmachines (mogelijk de voorvader van de computer) met de ordelijke [*jardin à la française*](http://goo.gl/lfHzV)."},{"locale":"fr","description":"En 1996, ces deux pièces de métier à tisser ont été exposées à l'exposition [*La porte de l'Europe (les bourgeois de Calais)*](http://ensembles.mhka.be/events/48). Calais est un lieu où l'on a traditionnellement produit de la dentelle depuis le XIXe siècle, à travers un système de cartes perforées avec des schémas de trous qui instruisent une séquence d'opérations. \r\n\r\nLe texte suspendu au-dessus des pièces donne une dimension supplémentaire au concept de cette œuvre, comparant l'automatisme des machines binaires à dentelle (peut-être l'ancêtre de l'ordinateur) avec le très ordonné [*jardin à la française*](http://goo.gl/lfHzV)."}]},{"id":1677,"title":"Still Life with Architectural Elements","dimensions":"","date_begin":"2000-01-01","material":"metal, table, marble table top, stone, acrylic paint","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":105,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"location: HT Transport, Berlin","date_end":null,"reference":"JD1856","stream_count_app":18,"permalink":"still-life-with-architectural-elements","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/639/large/Jimmie_Durham__Still_life_with_architectural_elements__200._Courtesy_Galerie_Nordenhake__Stockholm._photo_Mario_Valente.jpg?1334664789","poster_credits":"image: (c) Mario Valente","translations":[{"locale":"en","description":"This table and the stones painted as fruits lying on it are the remains of the the performance-video [Fruit Table](http://ensembles.mhka.be/items/2797)."},{"locale":"nl","description":"Deze tafel en de stenen geverfd als stukken fruit erop zijn de overblijfselen van de performancevideo [Fruit Table](http://ensembles.mhka.be/items/2797)."},{"locale":"fr","description":"Cette table et les pierres peintes comme des fruits posés sur elle sont les résidus de la performance vidéo [Fruit Table](http://ensembles.mhka.be/items/2797)."}]},{"id":1697,"title":"Rocks Encouraged","dimensions":"variable dimensions","date_begin":"2010-01-01","material":"petrified wood, text","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":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"","publishing_process_id":1,"annotation":"location: HT Transport, Berlin.\r\nNeeds enclosed, sound-proof space.\r\nCurrently in the artist's storage: Grossgörschenstrasse 6, 10827 Berlin, Schöneberg, Germany.\r\nInsurance value: 180.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational use. Should be listed as belonging to artist and Kurimanzutto, Mexico City (courtesy of the artist and Kurimanzutto, Mexico City).","date_end":null,"reference":"JD2314","stream_count_app":32,"permalink":"rocks-encouraged","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/435/large/Jimmie_Durham_exhibition_-Rocks_Encouraged-_at_Portikus_Frankfurt_2.jpg?1333618991","poster_credits":"image: (c) Blaise Mann","translations":[{"locale":"en","description":"The installation *Rocks Encouraged* consists of big pieces of petrified wood enclosed in a sound-proof space where one spectator at a time can enter. Jimmie Durham explains: “I knew that one could do something highly concentrated. I bought the beautiful strange stones in Berlin, because I could not resist them …Then I had to think what to do with them that would not seem a desecration or either too simplistic, so I thought that making people experience them without jabber, without comparisons, without distractions … One person at a time; no matter how theatrical or impractical that might turn out… I wanted the most thoughtful, meditative piece”\r\n\r\n[For the full text read the press text of the [exhibition *Rocks Encouraged*](http://ensembles.mhka.be/events/jimmie-durham-rocks-encouraged) in Portikus, Frankfurt, where this work was first exhibited]\r\n\r\nThe poem hanging on the wall inside the installation is called *Middle* and was first published in the book [*Columbus Day*](http://ensembles.mhka.be/items/831) in 1983. Its two last verses read: “Trees gave seeds. And rocks encouraged”. [To read the full poem click on the assets bellow]"},{"locale":"nl","description":"De installatie *Rocks Encouraged* bestaat uit grote stukken versteend hout in een geluidsdichte ruimte. Er kan maar een bezoeker per keer binnen. Jimmie Durham licht toe: “Ik wist dat je iets heel geconcentreerd kunt doen. De prachtige vreemde stenen kocht ik in Berlijn – ik kon er niet aan weerstaan… Vervolgens moest ik bedenken wat ik ermee kon doen dat geen ontheiliging zou lijken, of te simplistisch, dus ik dacht: ik laat mensen ze ervaren zonder geklets, zonder vergelijkingen, zonder afleidingen… Eén persoon per keer, hoe theatraal of onpraktisch dat ook mag blijken te zijn… Ik wou een bijzonder bedachtzaam, meditatief werk.” \r\n\r\n[Voor de volledige tekst kunt u de perstektst lezen van de [tentoonstelling *Rocks Encouraged*](http://ensembles.mhka.be/events/jimmie-durham-rocks-encouraged) in Portikus, Frankfurt, waar dit werk voor het eerst werd tentoongesteld.]\r\n\r\nHet gedicht in de installatie aan de muur, heet *Middle*. Het werd voor het eerst gepubliceerd in het boek [*Columbus Day*](http://ensembles.mhka.be/items/831) in 1983. De laatste twee verzen luiden: “Trees gave seeds. And rocks encouraged” (“Bomen gaven zaden. En stenen moedigden aan”). [Klik hieronder om het hele gedicht te lezen.]"},{"locale":"fr","description":"L’installation *Rocks Encouraged* (Les roches encourageaient) se compose de grandes pièces de bois pétrifié contenues dans un espace insonorisé où seul un visiteur à la fois peut pénétrer. Jimmie Durham explique : « Je savais que ces pierres-là pouvaient donner lieu à quelque chose de très concentré. J’ai acheté ces pierres étranges et magnifiques à Berlin, je n’ai pas pu leur résister… Puis, il m’a fallu réfléchir à ce que j’en ferais qui ne ressemblerait pas à de la profanation ou ne serait trop simpliste. Donc, je me suis dit qu’il fallait permettre aux gens d’en faire l’expérience sans bruit de fond, sans comparaison, sans distraction… Une personne à la fois, peu importe la théâtralité ou le côté peu pratique de la chose… Je voulais en faire la pièce la plus invitante à la réflexion, la plus méditative possible. » \r\n\r\n[Pour le texte intégral, vous pouvez lire le communiqué de presse de [l’exposition Rocks Encouraged](http://ensembles.mhka.be/events/jimmie-durham-rocks-encouraged) à Portikus, à Francfort, où cette œuvre a été exposée pour la première fois.]\r\n\r\nLe poème accroché au mur dans l’espace de l’installation s’intitule *Middle* et fut publié pour la première fois dans le livre [*Columbus Day*](http://ensembles.mhka.be/items/831), en 1983. Les deux derniers vers : *Trees gave seeds. And rocks encouraged*. (Les arbres donnaient des graines. Et les pierres encourageaient.) [Veuillez cliquer sur le lien ci-dessous pour le poème intégral.]"}]},{"id":1656,"title":"These Polished Stones Are from Brazil","dimensions":"100 x 78 x 1 cm","date_begin":"2005-01-01","material":"polished stones, painted wood panel, text","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":105,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"","publishing_process_id":1,"annotation":"Signed and dated \"Jimmie Durham 05\" on the back\r\nlocation: HT Transport, Berlin.\r\nCurrently in the artist's storage: Grossgörschenstrasse 6, 10827 Berlin, Schöneberg, Germany.\r\nInsurance value: 40.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational purpose. Should be listed as belonging to the artist and Kurimanzutto, Mexico City (courtesy of the artist and Kurimanzutto, Mexico City).  ","date_end":null,"reference":"JD2308","stream_count_app":33,"permalink":"these-polished-stones-are-from-brazil","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/555/large/ThesePolishedStones_7041.jpg?1323252353","poster_credits":"(c)image: Nigel Davidson","translations":[{"locale":"en","description":"“[Maria Thereza](http://ensembles.mhka.be/actors/320)’s father (...) had the idea a couple of years ago to sell polished Brazilian [semi-precious](http://ensembles.mhka.be/items/2214) (oh, how I love that term!) stones in New York. He sent some to Maria Thereza to make photographs but then gave up the project, so I got some of the stones and used four of them in a work I made for the Reg Vardy Auto Sales Gallery.\r\nThose four stones really were only to illustrate (in a non-illustrative way) a [text](http://ensembles.mhka.be/items/5085) which was the printed version of a speech I gave in Porto Alegre (“Happy Port”) Brazil, earlier in 2005, at the World Social Forum.” [full text [here](http://ensembles.mhka.be/items/3200)]"},{"locale":"nl","description":"“[Maria Therezas](http://ensembles.mhka.be/actors/320) vader (...) kreeg enkele jaren geleden het idee om gepolijste Braziliaanse [halfedelstenen](http://ensembles.mhka.be/items/2214) (oh, wat houd ik van die term : ‘semi-precious’!) in New York te verkopen. Hij stuurde enkele op naar Maria Thereza om te fotograferen, maar gaf het project dan op. En dus nam ik enkele stenen en gebruikte er vier in een werk dat ik maakte voor de Reg Vardy Auto Sales Gallery.\r\nDie vier stenen dienden eigenlijk alleen ter illustratie (op een niet-illustratieve manier) van een [tekst](http://ensembles.mhka.be/items/5085) die de gedrukte versie was van een speech die ik eerder in 2005 gaf in Porto Alegre (“Vrolijke Haven”) in Brazilië, op het Wereld Sociaal Forum.” [Lees de volledige Engelse tekst [hier](http://ensembles.mhka.be/items/3200)]"},{"locale":"fr","description":"« Il y a deux ans, le père de [Maria Thereza](http://ensembles.mhka.be/actors/320) (…) a eu l'idée de vendre des pierres [semi-précieuses](http://ensembles.mhka.be/items/2214) (oh, que j'aime ce terme!) brésiliennes à New York. Il en a envoyé quelques-unes à Maria Thereza pour qu'elle les photographie, mais il a rapidement abandonné le projet. Ainsi, j'ai obtenu quelques pierres et j'en ai utilisé quatre dans une œuvre réalisée pour la Reg Vardy Auto Sales Gallery.\r\nCes quatre pierres ne servaient qu'à illustrer (de manière non illustrative) un [texte](http://ensembles.mhka.be/items/5085) qui était la version imprimée d'un discours que j'ai prononcé à Porto Alegre (“Port allègre”) au Brésil, au début de l'année 2005, à l'occasion du Forum Social Mondial. » [texte intégral [ici](http://ensembles.mhka.be/items/3200)]"}]},{"id":1691,"title":"Shrouds and Swaddling Clothes of Decomissioned Saints","dimensions":"2 x (28 x 45 x 45 cm)","date_begin":"1996-01-01","material":"Plastic, clothes, dirt, hair, glue","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":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"Floor piece. Artist Certificate. location: HT Transport, Berlin.location: HT Transport, Berlin.\r\nText piece with objects. Wall piece.\r\nInsurance value: 50.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational use. Should be listed as belonging to artist and Kurimanzutto, Mexico City ","date_end":null,"reference":"JD2269","stream_count_app":30,"permalink":"shrouds-and-swaddling-clothes-of-decomissioned-saints","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/109/large/031-M.jpg?1316165293","poster_credits":"image: (c) André Morin","translations":[{"locale":"en","description":"\"The Pope has been decommissioning a lot of saints, which I think is a nice idea. His problem is that he's making new saints. All the fascists in the world are now saints. I took two baskets of clothes, white shirts and things-they were all white—that I made dirty with a little bit of mud and hair and froze them with white glue so that they were hard. The piece is called *Shrouds and Swaddling Clothes of Decommissioned Saints*. The French said, “They’re not really Decommissioned”—no one could see the piece beyond that.\" [full text [here](http://ensembles.mhka.be/items/3175)]"},{"locale":"nl","description":"\"De Paus heeft veel heiligen ontwijdt, wat ik wel een goed idee vind. Zijn probleem is dat hij nieuwe heiligen maakt. Alle fascisten ter wereld zijn nu heiligen. Ik nam twee manden vol kleren, witte hemden enzo – allemaal wit – die ik vuil maakte met een beetje modder en haar en bevroor met witte lijm zodat ze hard werden. Het werk heet *Shrouds and Swaddling Clothes of Decommissioned Saints* (Lijkwaden en windsels van ontwijdde heiligen). De Fransen zeiden: “Ze zijn niet echt ontwijdt.” Niemand kon het werk dieper beschouwen dan dat.” [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/3175)]"},{"locale":"fr","description":"« Le Pape a déchu de nombreux saints, ce qui me paraît une bonne idée. Le problème est qu'il proclame de nouveaux saints. Tous les fascistes du monde sont des saints à présent. J'ai pris deux paniers de vêtements, des chemises blanches et autres habits, tous blancs, que j'ai maculés avec de la boue et des cheveux que j'ai fixés avec de la colle blanche afin qu'ils deviennent durs. La pièce s'intitule *Shrouds and Swaddling Clothes of Decommissioned Saints* (Suaires et maillots des saints déchus). Les Français ont dit : “Ils ne sont pas vraiment déchus.” Personne ne pouvait voir la pièce au-delà de ça. » [texte intégral [ici](http://ensembles.mhka.be/items/3175)]"}]},{"id":1684,"title":"Sea Shell Piece","dimensions":"119 x 22 x 51 cm","date_begin":"2007-01-01","material":"mixed media sculpture with sea shell and sound: Fuck You","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"","publishing_process_id":1,"annotation":"location: HT Transport, Berlin.\r\nInsurance value: 180.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational use. Should be listed as belonging to artist and Kurimanzutto, Mexico City (courtesy of the artist and Kurimanzutto, Mexico City).","date_end":null,"reference":"JD2335","stream_count_app":28,"permalink":"sea-shell-piece","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/562/large/_MG_2042.JPG?1318232062","poster_credits":"(c)image: Roman März","translations":[{"locale":"en","description":"The Sound Works are seven self-standing sculptures (see linked items) made of unexpected combinations of materials and object parts. They each produce a different sound, ranging from white noise and ambient sounds captured by the artist to the voice of Durham himself talking, singing, swearing and shouting."},{"locale":"nl","description":"De ‘geluidswerken’ zijn zeven op zichzelf staande sculpturen (zie *linked items*), gemaakt uit onverwachte combinaties van materialen en onderdelen. Ze brengen elk een ander geluid voort, van witte ruis en omgevingsgeluiden opgenomen door de kunstenaar, tot de stem van Durham zelf, pratend, zingend, vloekend, roepend. "},{"locale":"fr","description":"Les 'Sound Works' se composent de sept sculptures autonomes faites à partir de combinaisons inattendues de matériaux et d’éléments d’objets. Chacune produit un son différent, allant de bruits blancs et bruits de fond enregistrés par l’artiste à sa propre voix parlant, chantant, jurant et criant."}]},{"id":1683,"title":"Red Handle","dimensions":"95 x 105 x 92 cm","date_begin":"2007-01-01","material":"mixed media sculpture with sound: Glass","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":79,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"","publishing_process_id":1,"annotation":"location: HT Transport, Berlin","date_end":null,"reference":"JD2334","stream_count_app":32,"permalink":"red-handle","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/561/large/_MG_2055.JPG?1318231944","poster_credits":"(c)image: Roman März","translations":[{"locale":"en","description":"The Sound Works are seven self-standing sculptures (see linked items) made of unexpected combinations of materials and object parts. They each produce a different sound, ranging from white noise and ambient sounds captured by the artist to the voice of Durham himself talking, singing, swearing and shouting."},{"locale":"nl","description":"De ‘geluidswerken’ zijn zeven op zichzelf staande sculpturen (zie linked items), gemaakt uit onverwachte combinaties van materialen en onderdelen. Ze brengen elk een ander geluid voort, van witte ruis en omgevingsgeluiden opgenomen door de kunstenaar, tot de stem van Durham zelf, pratend, zingend, vloekend, roepend. "},{"locale":"fr","description":"Les 'Sound Works' se composent de sept sculptures autonomes faites à partir de combinaisons inattendues de matériaux et d’éléments d’objets. Chacune produit un son différent, allant de bruits blancs et bruits de fond enregistrés par l’artiste à sa propre voix parlant, chantant, jurant et criant."}]},{"id":1682,"title":"Familial (overcoat)","dimensions":"60 x 90 x 80 cm","date_begin":"2007-01-01","material":"mixed media sculpture with overcoat and sound: Low Frequency","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":79,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"","publishing_process_id":1,"annotation":"location: HT Transport, Berlin","date_end":null,"reference":"JD2333","stream_count_app":32,"permalink":"familial-overcoat","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/556/large/_MG_2019.JPG?1318231576","poster_credits":"(c)image: Roman März","translations":[{"locale":"en","description":"The Sound Works are seven self-standing sculptures (see linked items) made of unexpected combinations of materials and object parts. They each produce a different sound, ranging from white noise and ambient sounds captured by the artist to the voice of Durham himself talking, singing, swearing and shouting."},{"locale":"nl","description":"De ‘geluidswerken’ zijn zeven op zichzelf staande sculpturen (zie linked items), gemaakt uit onverwachte combinaties van materialen en onderdelen. Ze brengen elk een ander geluid voort, van witte ruis en omgevingsgeluiden opgenomen door de kunstenaar, tot de stem van Durham zelf, pratend, zingend, vloekend, roepend. "},{"locale":"fr","description":"Les 'Sound Works' se composent de sept sculptures autonomes faites à partir de combinaisons inattendues de matériaux et d’éléments d’objets. Chacune produit un son différent, allant de bruits blancs et bruits de fond enregistrés par l’artiste à sa propre voix parlant, chantant, jurant et criant."}]},{"id":1680,"title":"Black Guard","dimensions":"125 x 55 x 80 cm","date_begin":"2007-01-01","material":"mixed media sculpture with sound: Duo Jimmie Durham and Maria Thereza","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"","publishing_process_id":1,"annotation":"location: HT Transport, Berlin","date_end":null,"reference":"JD2331","stream_count_app":28,"permalink":"black-guard","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/554/large/_MG_2057.JPG?1318231399","poster_credits":"(c)image: Roman März","translations":[{"locale":"en","description":"The Sound Works are seven self-standing sculptures (see linked items) made of unexpected combinations of materials and object parts. They each produce a different sound, ranging from white noise and ambient sounds captured by the artist to the voice of Durham himself talking, singing, swearing and shouting."},{"locale":"nl","description":"De ‘geluidswerken’ zijn zeven op zichzelf staande sculpturen (zie linked items), gemaakt uit onverwachte combinaties van materialen en onderdelen. Ze brengen elk een ander geluid voort, van witte ruis en omgevingsgeluiden opgenomen door de kunstenaar, tot de stem van Durham zelf, pratend, zingend, vloekend, roepend. "},{"locale":"fr","description":"Les 'Sound Works' se composent de sept sculptures autonomes faites à partir de combinaisons inattendues de matériaux et d’éléments d’objets. Chacune produit un son différent, allant de bruits blancs et bruits de fond enregistrés par l’artiste à sa propre voix parlant, chantant, jurant et criant."}]},{"id":1679,"title":"Lawrence Livermore Radiation Facility","dimensions":"183 x 80 x 80 cm","date_begin":"2007-01-01","material":"mixed media sculpture with jacket and sound:  You Always Hurt","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"","publishing_process_id":1,"annotation":"location: HT Transport, Berlin","date_end":null,"reference":"JD2330","stream_count_app":27,"permalink":"lawrence-livermore-radiation-facility","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/553/large/_MG_2043.JPG?1318231303","poster_credits":"(c)image: Roman März","translations":[{"locale":"en","description":"The Sound Works are seven self-standing sculptures (see linked items) made of unexpected combinations of materials and object parts. They each produce a different sound, ranging from white noise and ambient sounds captured by the artist to the voice of Durham himself talking, singing, swearing and shouting."},{"locale":"nl","description":"De ‘geluidswerken’ zijn zeven op zichzelf staande sculpturen (zie linked items), gemaakt uit onverwachte combinaties van materialen en onderdelen. Ze brengen elk een ander geluid voort, van witte ruis en omgevingsgeluiden opgenomen door de kunstenaar, tot de stem van Durham zelf, pratend, zingend, vloekend, roepend. "},{"locale":"fr","description":"Les 'Sound Works' se composent de sept sculptures autonomes faites à partir de combinaisons inattendues de matériaux et d’éléments d’objets. Chacune produit un son différent, allant de bruits blancs et bruits de fond enregistrés par l’artiste à sa propre voix parlant, chantant, jurant et criant."}]},{"id":1678,"title":"Dial Tone ","dimensions":"60 x 80 x 200 cm","date_begin":"2007-01-01","material":"mixed media sculpture with sound: Baby Lament","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"","publishing_process_id":1,"annotation":"location: HT Transport, Berlin","date_end":null,"reference":"JD2329","stream_count_app":31,"permalink":"dial-tone","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/552/large/_MG_2039.JPG?1318231153","poster_credits":"(c)image: Roman März","translations":[{"locale":"en","description":"The Sound Works are seven self-standing sculptures (see linked items) made of unexpected combinations of materials and object parts. They each produce a different sound, ranging from white noise and ambient sounds captured by the artist to the voice of Durham himself talking, singing, swearing and shouting."},{"locale":"nl","description":"De ‘geluidswerken’ zijn zeven op zichzelf staande sculpturen (zie linked items), gemaakt uit onverwachte combinaties van materialen en onderdelen. Ze brengen elk een ander geluid voort, van witte ruis en omgevingsgeluiden opgenomen door de kunstenaar, tot de stem van Durham zelf, pratend, zingend, vloekend, roepend. "},{"locale":"fr","description":"Les 'Sound Works' se composent de sept sculptures autonomes faites à partir de combinaisons inattendues de matériaux et d’éléments d’objets. Chacune produit un son différent, allant de bruits blancs et bruits de fond enregistrés par l’artiste à sa propre voix parlant, chantant, jurant et criant."}]},{"id":1826,"title":"A Friend of Mine Said that Art is a European Invention","dimensions":"","date_begin":"1994-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"a-friend-of-mine-said-that-art-is-a-european-invention","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *Jetzzeit*. Amsterdam: Cantz Verlag, 1994, pp.36–43 and in *Global Visions: Towards a New Internationalism in the Visual Arts.* London: Kala Press in association with INIVA, 1994, pp.113–119"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1786,"title":"Hommage à Filliou","dimensions":"100 x 75 x 33 cm","date_begin":"2003-01-01","material":"purpurin, oil, pine wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private Collection, Mexico","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"provenance: kurimanzutto, Mexico City","date_end":null,"reference":"","stream_count_app":29,"permalink":"hommage-a-filliou","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/844/large/Roman_Marz.jpg?1323427031","poster_credits":"image: (c) Roman Marz","translations":[{"locale":"en","description":"\"The piece I just did in [Venice](http://ensembles.mhka.be/events/104) is called *Homage to Robert Filliou*. I do think that in my artwork, I’m really talking with [Robert Filliou](http://ensembles.mhka.be/actors/robert-filliou)’s artwork—when it’s that kind of an artwork. So I don’t start out making a piece thinking, “I’m going to make Homage to Robert Filliou.” Only, I make the piece and say, “Look, this is so much like Filliou.” It’s not so much like Filliou, and it is all the same... I like that kind of continuation I guess...\" [full text [here](http://ensembles.mhka.be/items/3194)]"},{"locale":"nl","description":"“Het werk dat ik pas in [Venetië](http://ensembles.mhka.be/events/104) maakte, heet *Hommage aan Robert Filliou*. Ik denk dat ik in mijn kunstwerk in feite spreek met de kunst van [Robert Filliou](http://ensembles.mhka.be/actors/robert-filliou) – wanneer het dat soort kunstwerk is. Dus ik begin niet aan een werk met de gedachte ‘Nu ga ik een hommage aan Robert Filliou maken.’ Ik maak het werk en zeg dan ‘Kijk, dit heeft veel van Filliou.’ Het heeft niet veel van Filliou, en het is toch hetzelfde… Ik denk dat ik houd van dat soort voortzetting…” [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/3194)]"},{"locale":"fr","description":"« La pièce que je viens de réaliser à [Venise](http://ensembles.mhka.be/events/104) s'intitule *Hommage à Robert Filliou*. Je crois que dans mon œuvre, je suis véritablement en conversation avec l'œuvre de [Filliou](http://ensembles.mhka.be/actors/robert-filliou) – quand il s'agit de ce type d'œuvres. Je ne commence pas à produire une œuvre en pensant : “Je vais rendre hommage à Filiou.” Je réalise l'œuvre et me dis : “Tiens, cela ressemble tellement à Filliou.” En fait, cela ne ressemble pas tellement à Filliou, et c'est tout à fait pareil... J'imagine que j'aime ce genre de confusion... » [texte intégral [ici][Lees de volledige tekst [hier](http://ensembles.mhka.be/items/3194)]"}]},{"id":1770,"title":"Obsidiana","dimensions":"00:05:43","date_begin":"2009-01-01","material":"dvd","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"loop, PAL, 4:3, stereo, color","publishing_process_id":1,"annotation":"Edition 1/3 + 1 AP","date_end":null,"reference":"JD1893","stream_count_app":35,"permalink":"obsidiana","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/613/large/vlcsnap-2012-02-08-09h11m01s87.png?1328688756","poster_credits":null,"translations":[{"locale":"en","description":"In this video, we see Jimmie Durham sitting at an office-like desk and teaching about the obsidian, a stone composed of volcanic glass with very sharp edges, historically used for making sharp blades.\r\n\"When one is cut by obsidian”, says Durham, “the wound does not stop bleeding because the body doesn't realize that it has been cut\"."},{"locale":"nl","description":"In deze video zien we Jimmie Durham aan een kantoorachtig bureau zitten, docerend over obsidiaan, een steen uit vulkanisch glas met razend scherpe randen, en ooit gebruikt om scherpe messen mee te maken. \r\n\"Als je gesneden bent door obsidiaan”, zegt Durham, “stopt de wonde niet met bloeden, want het lichaam beseft niet dat het gesneden is.”"},{"locale":"fr","description":"Dans cette vidéo, on voit Jimmie Durham installé à une table de bureau qui enseigne les propriétés de l'obsidienne, une pierre composée de verre volcanique aux bords très tranchants, utilisée au cours de l'histoire pour fabriquer des lames affûtées.\r\n« Quand on se coupe à l’obsidienne », dit Durham, « la plaie ne s'arrête plus de saigner parce que le corps n'a pas conscience de s'être coupé. »"}]},{"id":1821,"title":"My fake God","dimensions":"","date_begin":"2003-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"my-fake-god","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Statement published in the catalog for the travelling exhibition *100 Artists C God*, 2003"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2234,"title":"The Piece of Wood","dimensions":"","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"the-piece-of-wood--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Text used in the travelling exhibition *Knew Urk*, 2007"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1822,"title":"Internal Affairs","dimensions":"","date_begin":"2003-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"U.N., indians, 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Durham et un groupe d'étudiants locaux ont réuni 1 000 objets et les ont tous étiquetés en leur attribuant chacun une année."}]},{"id":2522,"title":"Pink Granite at Work","dimensions":"00:01:00","date_begin":"1997-01-01","material":"PAL","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist and Wien Lukatsch, Berlin","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":30,"permalink":"pink-granite-at-work","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/683/large/Sequence%2055.jpg?1323270627","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2521,"title":"HTV","dimensions":"00:02:30","date_begin":"1996-01-01","material":"PAL","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of Galerie Wien Lukatsch, Berlin","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":21,"permalink":"htv","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/595/large/vlcsnap-2012-02-07-14h25m24s249.png?1328623437","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1690,"title":"This Stone Had Always Wanted To Be a Fish... 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Should be listed as belonging to artist and Kurimanzutto, Mexico City (courtesy of the artist and Kurimanzutto, Mexico City).","date_end":null,"reference":"JD2297","stream_count_app":33,"permalink":"this-stone-had-always-wanted-to-be-a-fish-some-people-are-never-satisfied","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/009/large/Some%20Things%20Are%20Better%20Left%20Unsaid.jpg?1332424135","poster_credits":"(c)image: Nigel Davidson","translations":[{"locale":"en","description":"“When I paint a silly, nondescript face on stone-as-nature I want to give our mother her true face. Nature does not care. If there be gods they are not witnessed as caring. It does not follow as a moral, this next statement, but is my personal note in case you think I am cynical: It is we who must care, and develop more intellect.” [full text [here](http://ensembles.mhka.be/items/3214)]"},{"locale":"nl","description":"'Als ik een dwaas, nietszeggend gezicht schilder op steen-als-natuur, dan wil ik onze moeder haar ware gezicht geven. De natuur is niet bekommerd. Als er goden zijn, dan zijn er geen getuigenissen van hen als bezorgde wezens. Voor het geval dat je denkt dat ik cynisch ben: het volgende statement is geen zedenles, maar mijn persoonlijke noot: wij zijn het die bekommerd moeten zijn, en meer intellect moeten ontwikkelen'. [volledige Engelse tekst [hier](http://ensembles.mhka.be/items/3214)]"},{"locale":"fr","description":"« Lorsque je peins un visage niais, insignifiant sur une pierre comme nature, je désire donner à notre mère nature son vrai visage. La nature n'y prête aucune attention. S'il y a des dieux, ils ne font pas montre d’une grande attention. L'affirmation suivante n'a pas vocation à prêcher une morale, il s'agit juste d'une remarque personnelle, au cas où vous me croiriez cynique : c'est à nous qu'il incombe d'être plus attentifs et de développer plus d'intellect.\" [texte intégral en anglais [ici](http://ensembles.mhka.be/items/3214)]"}]},{"id":2228,"title":"Xitle and Spirit","dimensions":"variable dimensions","date_begin":"2007-01-01","material":"vulcanic stone, car, acrylic paint","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Collection of César Cervantes, Mexico City","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"(Still Life and Xitle, Still Life with Spirit and Xitle)","date_end":null,"reference":"","stream_count_app":42,"permalink":"xitle-and-spirit","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/379/large/Xitle%20and%20Spirit.jpg?1323096550","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"In the year 82 AD, the volcano Xitle erupted in Mexico and destroyed a whole city called  Cuicuilco (which translates to “place of singing and bright dancing”). Jimmie Durham brought a stone by truck to the street called Xitle. A machine was hired to lift it.\r\n\r\n“Centimeter by centimeter, encouraging the machine like it was an over- loaded donkey, they edged the stone towards the dark Spirit. With the insouciant grace of experts they convinced their little machine towards heroism. The stone weighs about 8 tons. It rests well and safely on the Dodge Spirit.”[full text [here](http://ensembles.mhka.be/items/3214)]"},{"locale":"nl","description":"De vulkaan Xitle (Mexico) barstte uit in het jaar 82 n.C. en verwoestte een hele stad genaamd Cuicuilco (dat zich laat vertalen als “plek van zingen en vrolijk dansen”). Jimmie Durham bracht met een vrachtwagen een steen naar de straat genaamd Xitle. Er werd een machine gehuurd om hem op te heffen. \r\n\r\n“Centimeter na centimeter, de machine aanmoedigend alsof het een overbeladen ezel was, duwden ze de steen richting de donkere Spirit. Met de onbekommerde gratie van experten overtuigden ze hun kleine machine tot heroïek. De steen weegt zo’n 8 ton. Hij ligt veilig en wel op de Dodge Spirit.” [Lees de volledige Engelse tekst [hier](http://ensembles.mhka.be/items/3214)]"},{"locale":"fr","description":"En l'an 82 apr. J.-C., le volcan Xitle est entré en éruption au Mexique et a détruit toute la ville de Cuicuilco (ce qui signifie « le lieu du chant et de la danse chatoyante »). Jimmie Durham a transporté une pierre par camion dans une rue portant le nom de Xitle. Ensuite, il a fallu louer une grue pour la soulever.\r\n\r\n« Centimètre par centimètre, encourageant la machine comme si c'était une mule surchargée, ils ont glissé la pierre vers la Spirit foncée (voiture). Avec la grâce insouciante d'experts, ils ont convaincu leur petite machine de se montrer héroïque. La pierre pesait huit tonnes. Elle repose en toute sécurité sur la Dodge Spirit. » [texte intégral en anglais [ici](http://ensembles.mhka.be/items/3214)]"}]},{"id":2651,"title":"Cowfamily","dimensions":"","date_begin":"1987-01-01","material":"","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":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"cowfamily","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/933/large/Cowfamily.jpg?1320327416","poster_credits":null,"translations":[{"locale":"en","description":"Published in the book [*The American West*](http://ensembles.mhka.be/items/909), Compton Verney, 2005."},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1681,"title":"S'Leave","dimensions":"189 x 80 x 100 cm","date_begin":"2007-01-01","material":"mixed media sculpture and sound: Lonesome Day","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"","publishing_process_id":1,"annotation":"location: HT Transport, Berlin","date_end":null,"reference":"JD2332","stream_count_app":30,"permalink":"s-leave","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/555/large/_MG_2056.JPG?1318231487","poster_credits":"(c)image: Roman März","translations":[{"locale":"en","description":"The Sound Works are seven self-standing sculptures (see linked items) made of unexpected combinations of materials and object parts. They each produce a different sound, ranging from white noise and ambient sounds captured by the artist to the voice of Durham himself talking, singing, swearing and shouting."},{"locale":"nl","description":"De ‘geluidswerken’ zijn zeven op zichzelf staande sculpturen (zie linked items), gemaakt uit onverwachte combinaties van materialen en onderdelen. Ze brengen elk een ander geluid voort, van witte ruis en omgevingsgeluiden opgenomen door de kunstenaar, tot de stem van Durham zelf, pratend, zingend, vloekend, roepend. "},{"locale":"fr","description":"Les 'Sound Works' se composent de sept sculptures autonomes faites à partir de combinaisons inattendues de matériaux et d’éléments d’objets. Chacune produit un son différent, allant de bruits blancs et bruits de fond enregistrés par l’artiste à sa propre voix parlant, chantant, jurant et criant."}]},{"id":3156,"title":"Mimesis and Alterity  ","dimensions":"","date_begin":null,"material":"","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"identity, culture","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"mimesis-and-alterity","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Book review, published in Artforum, December 1993, vol. 32, pp.75–76\r\n\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3158,"title":"Gilgamesh and Me","dimensions":"","date_begin":"1993-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"Gilgamesh","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"gilgamesh-and-me","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in the catalogue for the exhibition [*On taking a normal situation and retranslating it into overlapping and multiple readings of conditions past and present*](http://ensembles.mhka.be/events/115) at M HKA, Antwerp, 1993\r\n\r\n\r\nEditor’s Note\r\n\r\nIn the autumn of this year Jimmie Durham, who has posed variously as an artist, a theoretical biologist, and as an international gardener, was detained under suspicion by the authorities at Antwerp Airport. Durham was found attempting to enter the city carrying sheets of dried pulp made from trees, upon which he allegedly had made certain markings.\r\nThe following text, deciphered by the Bureau of Egress, was delivered to the Museum by the Bureau of Foreign Documents. The Museum does not claim authenticity for the text; certainly it does not contain the original markings made by Durham."},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3160,"title":"Jimmie Durham: Interviewed by Mark Gisbourne","dimensions":"","date_begin":"1994-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"Caliban, minority, New York","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"jimmie-durham-interviewed-by-mark-gisbourne","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *Art Monthly*, February 1994. No 173, pp.7–11"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3161,"title":"Nothing Works Out Right (Except Sometimes Almost)","dimensions":"","date_begin":"1994-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"Brazil","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"nothing-works-out-right-except-sometimes-almost","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *Whitewalls*, nos 33 \u0026 34, 1994, pp.44–50"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3166,"title":"Julie Talks with Jimmie Durham","dimensions":"","date_begin":"1996-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"interview","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"julie-talks-with-jimmie-durham","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Interview with Julie Berthelsen for the *Shelter* seminar, Trondheim. Published in *KITSCH*. Trondheim: Trondheim Art Academy, 1996, pp.28-33"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3168,"title":"Maybe I Will Do Nothing Visible in Yakutia","dimensions":"","date_begin":"1996-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"Eurasia, Siberia","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"maybe-i-will-do-nothing-visible-in-yakutia--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in the catalogue for the exhibition *Strangers in the Arctic: “Ultima Thule” and Modernity* at the Pori Art Museum, Finland, 1996, pp. 138–147"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3170,"title":"Birds","dimensions":"","date_begin":"1996-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"Eurasia, cherokee, birds","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"birds","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in Uccelli/Birds. Rome: Zerynthia, 1997, pp.94–98\r\n\r\nUccelli/Birds (transcript of talk in Paliano)\r\nMay 1996\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3172,"title":"Seven Parts","dimensions":"","date_begin":"1997-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"Trondheim, shelter","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"seven-parts","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *Shelter*. Trondheim: Trøndelag Kunstnerssenter et al., 1997, pp.26–27"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3174,"title":"Jimmie Durham: Between the Furniture and the Building (Between a Rock and a Hard Place)","dimensions":"","date_begin":"1998-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"writing, Eurasia, Gilgamesh, poetry, language","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"jimmie-durham-between-the-furniture-and-the-building-between-a-rock-and-a-hard-place--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"English text for the book *Between the Furniture and the Building*. Munich: Kunstverein München, 1998"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3176,"title":"Jimmie Durham","dimensions":"","date_begin":"1999-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"jimmie-durham--4","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *Changing the System*. Helsinki: NIFCA, 1999, p.60"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3178,"title":"Our New Intelligent Ignorance","dimensions":"","date_begin":"1999-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"public talk","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"our-new-intelligent-ignorance","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *European Journal of Arts Education*, vol. 2 no 2, July, 1999, pp.84–88"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3179,"title":"Artist's Portrait: Jimmie Durham","dimensions":"","date_begin":"2000-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"interview","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"artist-s-portrait-jimmie-durham","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Digitally published by *Museum in Progress*, Vienna, 2000\r\n\r\nInterview by Johannes Schlebrügge\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3183,"title":"Stone Heart","dimensions":"","date_begin":"2001-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"recipes","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"stone-heart","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Stone Heart. Kitakyushu: Center for Contemporary Art Kitakyushu, 2001"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1417,"title":"A Stone Asleep in Bed at Home","dimensions":"200 x 155 x 101 cm","date_begin":"2000-01-01","material":"grey granite, cotton, chestnut wood, pinewood","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 of MAC - Musée d'Art Contemporain de Marseille, Marseille","cached_tag_list":"","publishing_process_id":1,"annotation":"Origin: Christine König Galerie, Vienna.\r\nCurrently in the possession of the MAC, Marseille, France.\r\nInsurance value: 45.000 euros. ","date_end":null,"reference":"C.05.03","stream_count_app":34,"permalink":"a-stone-asleep-in-bed-at-home","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/965/large/126-M.jpg?1315489927","poster_credits":"Courtesy of Christine König Galerie, Vienna","translations":[{"locale":"en","description":"For Durham, boulders are the ultimate sculptural form, because each boulder is in itself a changing sculpture that is shaped by the elements in the course of time. He is fascinated by the personality of boulders, the ways in which a static object can become active, like a character in a story."},{"locale":"nl","description":"Keien zijn voor Durham de ultieme sculpturale vorm, omdat elke kei op zich een veranderende sculptuur is, die in de loop van de tijd door de elementen wordt vormgegeven. Hij is gefascineerd door de persoonlijkheid van keien, door de manieren waarop een statisch object actief kan worden, als een personage in een verhaal."},{"locale":"fr","description":"Pour Durham, les pierres constituent la forme sculpturale ultime, parce que chaque pierre, chaque galet est en soi une sculpture changeante à laquelle les éléments de la nature donnent forme. Il est fasciné par la personnalité des pierres, par la manière dont un objet statique peut devenir actif, à l’instar d’un personnage dans une histoire."}]},{"id":1377,"title":"A Fountain in Case Your Roof Leaks","dimensions":"123 x 50 x 50 cm","date_begin":"1996-01-01","material":"Glass, wood, steel pot, rope","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of Christine König Galerie, Vienna","cached_tag_list":"","publishing_process_id":1,"annotation":"Also called: \"Portable Fountain in Case Your Roof Leaks\".\r\nCurrently in the possession of Christine Köning Gallery (Schleifmühlglasse 1a AT-1040 Vienna, Austria).\r\nInsurance value 50.000 euros. Can be photographed, but only if mentioned: Courtesy of Christine Koening Galerie, Vienna. Work should be listed as in the possession of Christine Koening Galarie, Vienna. \r\n(crated 127 x 56,5 x 52,5 cm)","date_end":null,"reference":"","stream_count_app":41,"permalink":"a-fountain-in-case-your-roof-leaks","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/477/large/172_1997_Portable%20fountain%20in%20case%20your%20roof%20leaks.jpg?1317894046","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3171,"title":"Waiting to be interrupted","dimensions":"","date_begin":"1996-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"brussels, writing, St. Frigo","publishing_process_id":1,"annotation":"tag: Kabakov","date_end":null,"reference":"","stream_count_app":9,"permalink":"waiting-to-be-interrupted","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in [UP]Arte no 2, 1996, pp. 59–61"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":816,"title":"Bedia's Stirring Wheel","dimensions":"115 x 46 cm","date_begin":"1985-01-01","material":"aluminium, leather, fur, paint, feathers, skull, string, cloth, steering wheel","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":2,"collection":"Private Collection, New York","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"JD20","stream_count_app":34,"permalink":"bedia-s-stirring-wheel","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/366/large/Durham_Jimmie___Bedia's_Stirring_Wheel__1985.jpg?1336636574","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"[*Bedia's Muffler*](http://ensembles.mhka.be/items/614) and *Bedia's Stirring Wheel* are part of a series of artworks for which Jimmie Durham created fake Indian artefacts using car parts. Bedia is supposed to be a kind of future explorer.\r\n\r\nDurham's accompanying text reads:\r\n[Jose Bedia](http://en.wikipedia.org/wiki/Jos%C3%A9_Bedia_Vald%C3%A9s), the famous Cuban explorer/archaeologist, discovered this stirring wheel, sometimes referred to as the ‘Fifth’ or ‘Big’ wheel, during his second excavation of the ruins at White Planes in 3290 AD. He believes that the stirring wheel was a symbol of office for the Great White Father, often called ‘The Man behind the Wheel.’ Bedia claims that the chief would stand behind the wheel to make pronouncements and stirring speeches."},{"locale":"nl","description":"[*Bedia's Muffler*](http://ensembles.mhka.be/items/614) en *Bedia's Stirring Wheel* maken deel uit van een reeks kunstwerken waarbij Jimmie Durham nep-Indische artefacten creëerde met behulp van auto-onderdelen. Bedia wordt verondersteld een toekomstige ontdekkingsreiziger te zijn. \r\n\r\nIn Durhams begeleidende tekst valt het volgende te lezen: 'Jose Bedia, de beroemde Cubaanse ontdekkingsreiziger/archeoloog, ontdekte dit bewegende wiel (*stirring wheel*), dat soms wordt aangeduid als het 'vijfde' of 'grote' wiel, tijdens zijn tweede opgraving van de ruïnes aan de White Planes in 3290 n.Chr. Hij gelooft dat het bewegende wiel een symbool was voor een eerbewijs aan de Grote Witte Vader, vaak 'De Man achter het Wiel' genoemd. Bedia beweert dat het stamhoofd achter het wiel ging staan om verkondigingen te doen en toespraken te houden die de mensen bewogen.'"},{"locale":"fr","description":"[*Bedia's Muffler*](http://ensembles.mhka.be/items/614) (le pot d'échappement de Bedia) et *Bedia's Stirring Wheel* (le volant de Bedia) font partie d'une série d'œuvres d'art pour laquelle Jimmie Durham a créé des faux artefacts amérindiens, en se servant de pièces d'automobile. Bedia est censé incarner un futur explorateur.\r\n\r\nDans le texte qui accompagne l'œuvre, Durham écrit : « Jose Bedia, le célèbre explorateur/archéologue cubain a découvert ce volant, parfois appelé “cinquième” ou “grande” roue, au cours de sa deuxième excavation des ruines de White Planes, en 3290 après J.-C.. Il croit que le volant est le symbole de la fonction de Grand Père Blanc, souvent dénommé “L'Homme derrière le Volant”. Bedia prétend que le chef se tenait derrière le volant pour faire des déclarations et des discours émouvants. » "}]},{"id":2838,"title":"Stone Top (Nest)","dimensions":"variable dimensions","date_begin":"2003-01-01","material":"car, stone","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":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":23,"permalink":"stone-top-nest","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/692/large/Nature%20Mort%20with%20Stone%20on%20Metal.jpg?1323272689","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"Made by Jimmie Durham in Jølster, Norway, during a teaching residency in 2003."},{"locale":"nl","description":"Durham maakte dit werk tijdens zijn doceerverblijf in Jølster, Norwegen, in 2003."},{"locale":"fr","description":""}]},{"id":2748,"title":"Brazilian Bloodstone","dimensions":"","date_begin":null,"material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":27,"permalink":"brazilian-bloodstone","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/112/large/Sequence%2097.jpg?1321905939","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":614,"title":"Bedia's Muffler","dimensions":"86,4 x 115,2 x 12 cm","date_begin":"1985-01-01","material":"metal, leather, beads, shells, acrylic paint","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":2,"collection":"","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"","date_end":"1985-01-01","reference":"JD05","stream_count_app":21,"permalink":"bedia-s-muffler","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/365/large/182_1985_Bedia's%20Muffler_JD5.jpg?1317716416","poster_credits":null,"translations":[{"locale":"en","description":"See [Bedia's Stirring Wheel](http://ensembles.mhka.be/items/816). "},{"locale":"nl","description":"Zie [Bedia's Stirring Wheel](http://ensembles.mhka.be/items/816)."},{"locale":"fr","description":"Voir [Bedia's Stirring Wheel](http://ensembles.mhka.be/items/816)."}]},{"id":2331,"title":"The Libertine and The Stone Guest","dimensions":"","date_begin":"1996-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"Gilgamesh, Vienna, Wittgenstein","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":25,"permalink":"the-libertine-and-the-stone-guest","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"English manuscript for the book Der Verführer und der steinerne Gast, published in German only. Vienna/New York: Springer-Verlag, 1996\r\n\r\n\"Dedicated to Ludwig Wittgenstein and his beautiful house in Vienna, and to Robert Musil of Vienna and Prague. And Schönberg, which I imagine means “pretty mountain,” or “pretty stone,” and must be the same as Monteverdi if a “green mountain” means a “pretty mountain.” And to Heisenberg and to Einstein. What kind of a stein is a Wittgen’ stein?\""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":884,"title":"The Man Who Had a Beautiful House","dimensions":"00:07:27","date_begin":"1994-01-01","material":"dvd","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":" 'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 126-127\r\nCurrently in the artist's storage: Grossgorschenstrasse 6, 10827 Berlin, Schonberg, Germany","date_end":null,"reference":"","stream_count_app":45,"permalink":"the-man-who-had-a-beautiful-house","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/693/large/durham%20man-beautiful-house_1.JPG?1314261381","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"\"*The Man Who Had A Beautiful House* was filmed in Mexico where I used to live. There are no houses around for many kilometres.\r\nBefore Mexico I had lived in New York City, until 1987. So many homeless people in that very rich city of that very rich country. And I remember how happily arrogant and vulgar the rich Americans were in the ‘80’s.\r\nIt is such a strange world we live in now …\r\nWell, our video of a man who has a ‘dream house’ ends abruptly, almost as though the world became tired of his silly story and moved on.\r\nMy partner, Maria Thereza Alves, is actually the video artist, and I am more of a performer in front of the camera.\""},{"locale":"nl","description":"\"*The Man Who Had A Beautiful House* werd gefilmd in Mexico waar ik ooit woonde. In de wijde omtrek zijn geen andere huizen te bespeuren.\r\nVoor Mexico woonde ik in New York City, tot 1987. Zo veel daklozen in die heel rijke stad van dat heel rijke land. En ik herinner me hoe vrolijk arrogant en vulgair de rijke Amerikanen waren in de jaren 80.\r\nWat een vreemde wereld waar wij nu in leven…\r\nOnze video van een man die een ‘droomhuis’ heeft, eindigt abrupt, alsof de wereld zijn onnozel verhaaltje beu raakte en verderging. \r\nMijn partner, Maria Thereza Alves, is in feite de videokunstenaar; ik ben eerder een performer voor de lens.\""},{"locale":"fr","description":"« *The Man Who Had A Beautiful House* a été filmé au Mexique, dans la région où je vivais. Il n'y a pas de maison à des kilomètres à la ronde.\r\nAvant de vivre au Mexique, j'ai habité à New York jusqu'en 1987. Il y a tant de sans-abri dans cette ville si riche de ce pays si riche. Et je me souviens à quel point les États-Uniens riches étaient volontiers arrogants et vulgaires dans les années 80.\r\nNous vivons dans un monde tellement étrange de nos jours...\r\nNotre vidéo à propos d'un homme qui possède une “maison de rêve” se termine brutalement, presque comme si le monde s'était fatigué de son histoire idiote et voulait poursuivre son cours.\r\nMa partenaire, Maria Thereza Alves, est la vidéaste. Moi, je suis plutôt un performeur devant la caméra. » "}]},{"id":865,"title":"Prehistoric Stone Tool","dimensions":"75 x 85 cm","date_begin":"2004-01-01","material":"wood, paint, stone","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of the artist and Galleria Franco Soffiantino, Turin","cached_tag_list":"stoning","publishing_process_id":1,"annotation":" 'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 92-93\r\n\"Jimmie Durham - Le ragioni della leggerezza\".\r\nWall piece.\r\nCurrently in the possession of Franco Soffiantino, Turin, Italy.\r\nInsurance value: 20.000. Should be mentioned as in the possession of Galleria Franco Soffiantino. The work is not framed, wrapped or crated.","date_end":null,"reference":"","stream_count_app":31,"permalink":"prehistoric-stone-tool","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/528/large/prehistoric%20stone%20tool.jpg?1313738128","poster_credits":"Courtesy Franco Soffiantino Arte Contemporanea, Turin","translations":[{"locale":"en","description":"This simple flint hammer was made almost 40,000 years ago in the area of the river Seine close to present-day Paris. Of course, knowing so little of the lives and culture of people who produced this tool, it can only be conjecture as to its use. However, we can HEY! OW, OW, AIEE! STOP! STOP! WHY ARE YOU HITTING ME? PLEASE! STOP! OH NO! STOP! OUCH!"},{"locale":"nl","description":"Deze eenvoudige vuurstenen hamer werd bijna 40.000 jaar geleden gemaakt in de streek van de Seine, dichtbij het hedendaagse Parijs. Omdat we zo weinig weten over het leven en de cultuur van de mensen die dit instrument produceerden, kan het natuurlijk alleen gissen zijn naar het gebruik ervan. We kunnen echter HÉ! AU, AU, AI! STOP! STOP! WAAROM SLA JE ME? ALSJEBLIEFT! STOP! OH NEE! STOP! OE!"},{"locale":"fr","description":"La fabrication du simple marteau en silex remonte à près de 40 000 ans, dans la région de la Seine, à proximité de l'actuelle Paris. Bien entendu, sachant tellement peu à propos de la vie et de la culture des personnes ayant produit cet outil, on ne peut que conjecturer sur son utilisation. Néanmoins, on peut EH ! OH ! AÏE ! AÏE ! STOP ! STOP ! POURQUOI ME FRAPPES-TU ? S'IL TE PLAÎT, ARRÊTE ! OH NON ! STOP ! AÏE !"}]},{"id":1419,"title":"Museum of European Normality","dimensions":"","date_begin":"2008-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":58,"platform_id":1,"deleted":false,"asset_count":16,"stream_count":1,"collection":"Courtesy of the artists","cached_tag_list":"","publishing_process_id":1,"annotation":"separate room","date_end":null,"reference":"","stream_count_app":60,"permalink":"museum-of-european-normality","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/631/large/cartina01%20copy.jpg?1323263840","poster_credits":null,"translations":[{"locale":"en","description":"The *Museum of European Normality* is an installation set up as a parody of a documentation centre with socio-anthropological pretensions. It includes videos, maps, images from books and other sorts of documentation material. In one of the projects presented in the *Museum*, visitors can volunteer to donate their head to the Maoris in New Zealand. Facts and figures are presented as if part of a study, together with maps showing migration patterns across Europe, shaping our *European Normality*. An anti-guest book is displayed at the entrance, with more than 5.000 names of people who have died trying to immigrate to Europe or in refugee camps."},{"locale":"nl","description":"Het *Museum of European Normality* (Museum van Europese Normaliteit) is een installatie die een parodie vormt op een documentatiecentrum met socio-antropologische pretenties. Ze omhelst video’s, kaarten, prenten uit boeken en ander documentatiemateriaal. In een van de projecten beschreven in het *Museum* kunnen bezoekers zich kandidaat stellen om hun hoofd te doneren aan de Maori’s in Nieuw-Zeeland. Feiten en cijfers worden voorgesteld alsof ze deel uitmaken van een studie, en samen met kaarten die migratiepatronen over heel Europa tonen, geven ze vorm aan onze *Europese Normaliteit*. Een anti-gastenboek bevindt zich aan de ingang, met meer dan 5.000 namen van mensen die stierven in vluchtelingenkampen of tijdens hun poging om naar Europa te immigreren."},{"locale":"fr","description":"*Museum of European Normality* (musée de la normalité européenne) est une installation mise en scène comme une parodie de centre de documentation aux prétentions socio-anthropologiques. Il inclut de la vidéo, des cartes, des images de livres et autres matériels documentaires. Dans l'un des projets présentés dans le *Museum*, les visiteurs peuvent se porter volontaires pour faire don de leur tête aux Maoris en Nouvelle-Zélande. Des faits et chiffres sont présentés comme s'ils étaient extraits d'une étude, à côté de cartes indiquant les schémas de migration à travers l'Europe, donnant forme à notre « normalité européenne ». Un anti-livre d'or est installé à l'entrée, avec plus de 5 000 noms de migrants morts en tentant de rejoindre l'Europe ou dans des camps de réfugiés."}]},{"id":3194,"title":"Two Conversations with Jimmie Durham","dimensions":"","date_begin":"2004-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"interview","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"two-conversations-with-jimmie-durham","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *A Prior* #9, Brussels, 2004, pp.156–184\r\n\r\nInterview by Rudi Laermans\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3195,"title":"Situations","dimensions":"","date_begin":"2004-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"exile, public talk, Berlin","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"situations","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Transcript of lecture at the School of Chemistry, Bristol\r\n\r\nPublished in the book *Contemporary Art: From Studio to Situation*. Claire Doherty (ed.). London: Black Dog Publishing, pp.177–183"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3196,"title":"Jimmie Durham","dimensions":"","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"jimmie-durham--5","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *The Imaginary Number*. Berlin: KW Institute for Contemporary Art, 2005, p.19"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3197,"title":"Various Elements of Cowboy Life","dimensions":"","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"various-elements-of-cowboy-life","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in the [catalogue](http://ensembles.mhka.be/items/909) for the exhibition *The American West* at Compton Verney, UK, 2005, pp.9–22"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3198,"title":"Cherokee–U.S. Relations","dimensions":"","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"indians, cherokee","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"cherokee-u-s-relations","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in [*The American West*](http://ensembles.mhka.be/items/909). Compton Verney, 2005, pp.51–59"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3199,"title":"Suggested Further Research","dimensions":"","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"television","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":15,"permalink":"suggested-further-research","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in [*The American West*](http://ensembles.mhka.be/items/909), Compton Verney, 2005, pp.170"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3200,"title":"The Second Particle Wave Theory","dimensions":"","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"river, Brazil, language","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"the-second-particle-wave-theory","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"The *Second Particle Wave Theory (As Performed on the Banks of the River Wear, a Stone’s Throw from S’Underland and the Durham Cathedral)*. Sunderland: Reg Vardy Gallery, 2005"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3201,"title":"Untitled (letter to a young artist)","dimensions":"","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"untitled-letter-to-a-young-artist","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *Art on Paper*, vol. 9, no. 6, July/August 2005, p.35."},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3203,"title":"Some Collide, Some Escape","dimensions":"","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"some-collide-some-escape","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in the catalogue for the project *Some Collide, Some Escape* at the Humboldt University Cowshed, Berlin, 2005 (unpaginated)"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3204,"title":"Inadequate Response","dimensions":"","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"Belgium, indians, Brazil","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"inadequate-response","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Maria Thereza Alves and Jimmie Durham, [*Inadequate Response*](http://ensembles.mhka.be/items/5033). Strasbourg: La Chaufferie, 2005"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3205,"title":"Untitled (A.C.A.D.E.M.Y.)","dimensions":"","date_begin":"2006-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"teaching, poem","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"untitled-a-c-a-d-e-m-y","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Jimmie Durham's contribution for *A.C.A.D.E.M.Y.*. Frankfurt am Main: revolver, 2006, pp. 56-57"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2619,"title":"CUJO - Jimmie Durham","dimensions":"","date_begin":"2011-01-01","material":"paper, plastic","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"artistbook object","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0461_01","stream_count_app":39,"permalink":"cujo-jimmie-durham","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":"Andrea Amichetti, Andrea Lissoni, Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/999/large/Durham,%20Jimmie%20CuJO,%20Year%20III%20,%20First%20Issue%20%20photo%20M%20HKAclinckx_4.jpg?1321262561","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003eOver the past forty years, Jimmie Durham has collected \u0026lsquo;1000 magic objects that keep the world together\u0026rsquo;. These are always broken or abandoned objects that he has found in different places around the world. Durham sent the objects to CUJO, who photographed them all and printed them in the magazine\u0026rsquo;s third edition. On the back cover is a list of where the objects were found, ranging from Arkansas to Italy, from Belgium to Mexico. One of the 1000 objects was inserted in every subsequent edition, regardless of its size.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe voorbije veertig jaar verzamelde Jimmie Durham \u0026lsquo;1000 magische objecten die de wereld samenhouden\u0026rsquo;. Het zijn steeds kapotte of achtergelaten voorwerpen die hij vond op verschillende plaatsten, verspreid over de hele wereld. Durham zond de objecten naar CUJO. Ze werden allemaal gefotografeerd en afgebeeld in de derde editie van het tijdschrift. Op de achterflap van het magazine werden de vindplaatsen opgelijst, gaande van Arkansas tot Itali\u0026euml;, van Belgi\u0026euml; tot Mexico. Bij elk nummer werd vervolgens, ongeacht de grootte van het voorwerp, \u0026eacute;\u0026eacute;n van de 1000 objecten gevoegd.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAu cours des quarante derni\u0026egrave;res ann\u0026eacute;es, Jimmie Durham a r\u0026eacute;uni \u0026laquo; 1 000 objets magiques qui retiennent le monde \u0026raquo;. Il s\u0026rsquo;agit toujours d\u0026rsquo;objets d\u0026eacute;t\u0026eacute;rior\u0026eacute;s ou abandonn\u0026eacute;s, trouv\u0026eacute;s dans diff\u0026eacute;rents lieux aux quatre coins du monde. Durham a envoy\u0026eacute; les objets \u0026agrave; la r\u0026eacute;daction de la revue CUJO qui les a tous photographi\u0026eacute;s et repr\u0026eacute;sent\u0026eacute;s dans sa troisi\u0026egrave;me \u0026eacute;dition. Sur la derni\u0026egrave;re de couverture sont list\u0026eacute;s les lieux o\u0026ugrave; l\u0026rsquo;artiste a trouv\u0026eacute; les objets, allant de l\u0026rsquo;Arkansas \u0026agrave; l\u0026rsquo;Italie, en passant par la Belgique et le Mexique. Chaque num\u0026eacute;ro de la revue \u0026eacute;tait par ailleurs accompagn\u0026eacute; de l\u0026rsquo;un de ces 1 000 objets, ind\u0026eacute;pendamment de sa taille.\u003c/p\u003e\r\n"}]},{"id":3206,"title":"Popocatépetl and its Environs","dimensions":"","date_begin":"2006-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"Mexico","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"popocatepetl-and-its-environs","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in the catalogue for the exhibition *Quauhnuahuac – Die Gerade ist eine Utopie* at Kunsthalle Basel, 2006 (unpaginated)\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3207,"title":"I might call this short lecture…","dimensions":"","date_begin":"2006-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"indians, public talk, poem","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"i-might-call-this-short-lecture","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *Contro l’Architttura. 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Koen Leemans \u0026 Luc Lambrecht (eds.). Mechelen/Strombeek, Belgium: 2 Garage Cultural Centre, pp.46–47"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3210,"title":"The Monster","dimensions":"","date_begin":"2007-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"the-monster","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in the catalogue for the exhibition *Labyrinth* at the Châteu d’Oiron, France, 2007 (unpaginated)"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3212,"title":"1000 Words","dimensions":"","date_begin":"2009-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"artforum, stoning, objects","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"1000-words","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *Artforum*, January 2009, pp.189–189"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3214,"title":"Amoxohtli/Libro de Carretera/A Road Book","dimensions":"","date_begin":"2011-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":12,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"amoxohtli-libro-de-carretera-a-road-book","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"English manuscript for *Amoxohtli/Libro de Carretera/A Road Book*. 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Germany.","date_end":null,"reference":"","stream_count_app":47,"permalink":"labyrinth-elements","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/005/908/large/LabyrintheElements2.JPG?1326879730","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"In the summer of 2007, Jimmie Durham did a 3-month residency at the Atelier Calder (the former studio of the American artist [Alexander Calder](http://en.wikipedia.org/wiki/Alexander_Calder)) in Saché, France.\r\nOne of the artworks he presented there was a table covered with small figurines. Each of these pieces was composed by two elements: one metal piece (collected by Durham during his walks) and one wooden piece, sculpted by the artist using different types of woods. These two elements are not permanently fixed, and can eventually be combined differently by the artist every time they are displayed."},{"locale":"nl","description":"In de zomer van 2007 had Jimmie Durham drie maanden lang een residentie in Atelier Calder (de vroegere studio van de Amerikaanse kunstenaar [Alexander Calder](http://nl.wikipedia.org/wiki/Alexander_Calder)) in Saché, Frankrijk.\r\nEen van zijn kunstwerken daar was een tafel met kleine figuurtjes. Elk van die stukken bestond uit twee elementen: een metalen stukje (verzameld door Durham tijdens zijn wandelingen) en een houten stukje, door de kunstenaar vormgegeven in verschillende houtsoorten. Die twee elementen zijn niet permanent bevestigd, en bij iedere tentoonstelling kunnen ze door de kunstenaar eventueel anders worden gecombineerd."},{"locale":"fr","description":"À l'été 2007, Jimmie Durham a effectué une résidence de trois mois à l'Atelier Calder (l'ancien l'atelier de l'artiste états-unien [Alexander Calder](http://fr.wikipedia.org/wiki/Alexander_Calder)) à Saché, en France.\r\nL'une des œuvres d'art qu'il y a présentée est une table recouverte de petites figurines. Chacune de ces pièces était composée de deux éléments : une pièce en métal (collectionné par Durham pendant ses promenades) et une pièce en bois, sculptée par l'artiste utilisant des différents types de bois. Ces deux éléments ne sont pas fixés de façon permanente et l'artiste peut éventuellement les combiner différemment chaque fois qu'ils sont exposés."}]},{"id":3222,"title":"Various Elements from the Actual World","dimensions":"300 x 250 cm","date_begin":"2009-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"kurimanzutto: \"Objects and Materials from the Actual World\", 2010. Currently in the artist's storage: Grossgörschenstrasse 6, 10827 Berlin, Schöneberg, Germany. NEEDS SEPARATE ROOM","date_end":null,"reference":"","stream_count_app":38,"permalink":"various-elements-from-the-actual-world","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/475/large/DSC_0547.jpg?1337778376","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"The group exhibition [*Transmission Interrupted*](http://ensembles.mhka.be/events/transmission-interrupted) presented work from fourteen artists of different nationalities. The works were about alternative forms of representing the world. For this exhibition, Jimmie Durham made a painting composed of five panels where objects like gloves and credit cards and materials such as gold and Iranian stone are combined with text. \r\n\r\nCheck out other similar works in the ensemble [*Drawings, display and other 2D Work*](http://ensembles.mhka.be/ensembles/121)."},{"locale":"nl","description":"De groepstentoonstelling [*Transmission Interrupted*](http://ensembles.mhka.be/events/transmission-interrupted) toonde werken van veertien kunstenaars met verschillende nationaliteiten. De werken draaiden rond alternatieve vormen om de wereld uit te beelden. Jimmie Durham maakte voor deze tentoonstelling een schilderij dat bestond uit vijf panelen waarop voorwerpen zoals handschoenen en kredietkaarten en materialen zoals goud en Iraanse steen worden gecombineerd met tekst.\r\n\r\nBekijk ook andere, soortgelijke werken in het ensemble [*Drawings, display and other 2D Work*](http://ensembles.mhka.be/ensembles/121)."},{"locale":"fr","description":"L'exposition de groupe  [*Transmission Interrupted*](http://ensembles.mhka.be/events/transmission-interrupted) a présenté des œuvres de quatorze artistes de nationalités différentes à propos de formes de substitution de représentation du monde. Pour cette exposition, Jimmie Durham a réalisé une peinture composée de cinq panneaux sur lesquels il a combiné des objets, comme des gants et des cartes de crédit, des matériaux comme l'or ou la pierre d'Iran et du texte.\r\n\r\nVisionner d'autres œuvres analogues dans l'ensemble [*Drawings, display and other 2D Work*](http://ensembles.mhka.be/ensembles/121)."}]},{"id":1382,"title":"A Staff to Mark The Center of the World, Gwangju Biennale","dimensions":"3 pieces, each ca 250 x 10 cm","date_begin":"2004-01-01","material":"Wood, ink and paint on paper, plastic","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":1,"collection":"Courtesy of Christine König Galerie, Vienna","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"Gwangju Biennale, 2004\r\nartist's handwritten notes. images (c)Thomas Freiler, Vienna - list as Courtesy of the artist and Christine König Gallerie, Vienna","date_end":null,"reference":"","stream_count_app":52,"permalink":"a-staff-to-mark-the-center-of-the-world-gwangju-biennale","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/756/large/Durham_01.jpg?1314281137","poster_credits":"Courtesy of Christine König Galerie, Vienna","translations":[{"locale":"en","description":"Jimmie Durham has made a series titled *Staffs for* [*The Center of the World*](http://ensembles.mhka.be/ensembles/the-center-of-the-world). The first staff was made in [Brussels](http://ensembles.mhka.be/items/2295) in 1995, and others in [Yakutsk](http://ensembles.mhka.be/items/3686), [Rheims](http://ensembles.mhka.be/items/2182), Pläsy, Antwerp, Jølster, Prague, Berlin, Vancouver, Winnipeg, and this one in Gwangju, South Korea, in the occasion of the Gwangju Biennale in 2004. These poles always have a mirror attached to them, which according to the artist reflect the bad thoughts and bad spirits onto themselves. “Be warned, therefore, that a moveable pole cannot support the center of the world. Only trees can.” - writes Durham in a text belonging to the installation [*The Center of the World or How to Get to Chalma*](http://ensembles.mhka.be/items/3687) - “There are seven continents. Each has seven sacred trees. (maybe more, and I’m not sure what happens on all the smaller islands.) Find one that you like and place your own umbilical cord or its equivalent among the tree’s branches. Do not salute.”"},{"locale":"nl","description":"Jimmie Durham heeft een serie gemaakt met de titel *Staffs for* [*The Center of the World*](http://ensembles.mhka.be/ensembles/the-center-of-the-world). Het eerste werk uit de reeks werd in 1995 in [Brussel](http://ensembles.mhka.be/items/2295) gecreëerd, andere werken volgden in [Jakoetsk](http://ensembles.mhka.be/items/3686), [Reims](http://ensembles.mhka.be/items/2182), Pläsy, Antwerpen, Jølster, Praag, Berlijn, Vancouver en Winnipeg. Dit werk ontstond in 2004 in Gwangju, Zuid-Korea, ter gelegenheid van de Gwangju Biennale. Aan deze palen is altijd een spiegel bevestigd, die volgens de kunstenaar de slechte gedachten en de kwade geesten op zichzelf terug spiegelt. 'Wees daarom gewaarschuwd dat een verplaatsbare paal het middelpunt van de wereld niet kan ondersteunen. Alleen bomen kunnen dat', schrijft Durham in een tekst die een onderdeel is van de installatie [*The Center of the World or how to Get to Chalma*](http://ensembles.mhka.be/items/3687). 'Er zijn zeven continenten. Elk heeft zeven heilige bomen. (Misschien meer, en ik weet niet zeker wat er gebeurt op de kleinere eilanden.) Vind er één die je leuk vindt en plaats je eigen navelstreng of het equivalent daarvan onder de takken van de boom. Niet groeten.'"},{"locale":"fr","description":"Jimmie Durham a réalisé une série de *Staffs for* [*The Center of the World*](http://ensembles.mhka.be/ensembles/the-center-of-the-world). La première œuvre de la série fut présentée à [Bruxelles](http://ensembles.mhka.be/items/2295) en 1995, d'autres ont suivi à [Yakutsk](http://ensembles.mhka.be/items/3686), [Reims](http://ensembles.mhka.be/items/2182), Pläsy, Anvers, Jølster, Prague, Berlin, Vancouver, Winnipeg, et celle-ci à Gwangju, en Corée du Sud, à l'occasion de la Biennale en 2004. Ces poteaux sont toujours dotés d'un miroir qui, selon l’artiste, reflète sur eux-mêmes les mauvaises pensées et les esprits maléfiques. « Soyez donc conscient qu'un poteau mobile ne peut pas supporter le centre du monde. Seuls les arbres le peuvent. » écrit Durham dans le texte qui fait partie de l'installation [*The Center of the World or how to Get to Chalma*](http://ensembles.mhka.be/items/3687), « Il y a sept continents. Chacun a sept arbres sacrés. (Peut-être plus, je ne sais pas très bien ce qui se passe sur les plus petites îles.) Trouvez celui qui vous plaît et déposez votre propre cordon ombilical ou son équivalent dans les branches de l'arbre. Ne le saluez pas. »"}]},{"id":2744,"title":"Second Life","dimensions":"73 x 60 x 110 cm","date_begin":"2010-01-01","material":"Wooden table, wooden golf club, plastic tape, a book","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist and Sprovieri Gallery, London","cached_tag_list":"assemblage, mixed media","publishing_process_id":1,"annotation":"Also called \"Golf Table\".\r\nCurrently in the possession of Gallery Sprovieri, London, U.K. Pick-up at Feltham Middlesex, U.K.\r\nInsurance value: 40.000 euros. The owner agreed to having the work photographed for catalogue, TV, press and educational purposes. Should be listed as belonging to Sprovieri Gallery, London (courtesy of Sprovieri Gakkery, London).","date_end":null,"reference":"","stream_count_app":41,"permalink":"second-life","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/051/large/JD_003.jpg?1327320465","poster_credits":"Courtesy of Sprovieri Gallery","translations":[{"locale":"en","description":"In 2010, Jimmie Durham made a large-scale installation including sculptures, photographs, drawings, texts and documentation material that presented a humorous but nevertheless political investigation of the history and cultural identity of Scottish and Native Americans as well as the intersections between the two. In a few of the pieces in the exhibition, titled [*Universal Miniature Golf (The Promised Land)*](http://ensembles.mhka.be/events/26), Durham used references to golf, like in *Second Life*, where a table has one of its feet replaced by a golf club."},{"locale":"nl","description":"In 2010 maakte Jimmie Durham een grootschalige installatie die sculpturen, foto's, tekeningen, teksten en documentatiemateriaal bevatte en die een humoristisch maar tegelijk politiek onderzoek presenteerde naar de geschiedenis en de culturele identiteit van Schotse en indiaanse Amerikanen, en de overlappingen tussen de twee. In een paar van de werken in die tentoonstelling [*Universal Miniature Golf (The Promised Land)*](http://ensembles.mhka.be/events/26) gebruikte Durham verwijzingen naar golf, zoals in *Second Life*, waar een van de poten van een tafel vervangen werden door een golfclub."},{"locale":"fr","description":"En 2010, Jimmie Durham a réalisé une installation de grande envergure composée de sculptures, de photographies, de dessins, de textes et de matériel documentaire qui présentait une recherche humoristique mais politique aussi à propos de l'histoire et de la culture de l'identité des États-Uniens d'origine écossaise et des Amérindiens et des recoupements entre les deux. Dans quelques pièces de l'exposition intitulée [*Universal Miniature Golf (The Promised Land)*](http://ensembles.mhka.be/events/26), Durham fait référence au golf, comme dans *Second Life* où le pied d'une table est remplacé par un club de golf."}]},{"id":1807,"title":"Black Walnut","dimensions":"variable dimensions","date_begin":"2003-01-01","material":"paper, text, black walnut wood, walnuts","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":105,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"mixed media, object","publishing_process_id":1,"annotation":"location: HT Transport, Berlin.\r\nText piece with objects. Wall piece.\r\nCurrently in the artist's storage: Grossgörschenstrasse 6, 10827 Berlin, Schöneberg, Germany.\r\nInsurance value: 40.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational use. Should be listed as belonging to artist and Kurimanzutto, Mexico City (courtesy of the artist and Kurimanzutto, Mexico City).","date_end":null,"reference":"JD2310","stream_count_app":31,"permalink":"black-walnut","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/999/large/Black%20Walnut.jpg?1332420459","poster_credits":"(c)image: Nigel Davidson","translations":[{"locale":"en","description":"“Where does nature stop and whatever is ‘not-nature’ begin?” asks Jimmie Durham in his text [*Nature in the City*](http://ensembles.mhka.be/items/2369). The elements displayed here on the wall - a piece of wood, the leg of a table, a carved wood ornament and two nuts - represent different parts, forms and functions of the same tree. *Black Walnut* emphasizes the remaining primary identity of the material through the manufacturing process."},{"locale":"nl","description":"“Waar eindigt natuur en begint wat mag doorgaan voor ‘niet-natuur’?” vraagt Jimmie Durham in zijn tekst [*Nature in the City*](http://ensembles.mhka.be/items/2369). De elementen hier getoond op de muur – een stuk hout, een tafelpoot, een gekerfd houten ornament en twee noten – stellen verschillende delen, vormen en functies voor van een en dezelfde boom. *Black Walnut* benadrukt de overblijvende primaire identiteit van het materiaal doorheen het fabricageproces."},{"locale":"fr","description":"« Où la nature s’arrête-t-elle et où commence la “non-nature”, quoi que cela puisse signifier ? », demande Jimmie Durham dans le texte [*Nature in the City*](http://ensembles.mhka.be/items/2369). Les éléments disposés sur le mur – un morceau de bois, une patte de table, une décoration en bois ciselé et deux noix – représentent différentes parties, formes et fonctions du même arbre : *Black Walnut* met en valeur l’identité primaire subsistante du matériau au travers du processus de fabrication."}]},{"id":2794,"title":"Perhaps Mr. Palomar ","dimensions":"21 x 12 x 12 cm","date_begin":"2003-01-01","material":"grey granite, acrylic paint","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":1,"collection":"Collection of the Museum of Contemporary Art, Zagreb","cached_tag_list":"","publishing_process_id":1,"annotation":"Currently in the possession of the Museum of Contemporary Art, Zagreb, Croatia.","date_end":null,"reference":"","stream_count_app":30,"permalink":"perhaps-mr-palomar","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/992/large/stone%20face.jpg?1332414654","poster_credits":null,"translations":[{"locale":"en","description":"At first sight, *Mr Palomar* is another one of Jimmie Durham’s stones that has gained subjectivity though a gesture of the artist. But the title takes us a lot further: Mr Palomar is in fact the name of the main character of a novel by Italian writer Italo Calvino (who Durham has also mentioned in [other artworks](http://ensembles.mhka.be/items/2306)). Throughout the book, Mr Palomar makes philosophical comments about the world around him such as speculations about the cosmos, time and the true nature of being as well as observations about anthropological and cultural issues."},{"locale":"nl","description":"Op het eerste gezicht is ook *Mr Palomar* een van de stenen van Jimmie Durham die subjectiviteit kregen danzkij een geste van de kunstenaar. Maar de titel brengt ons verder: Palomar is in feite de naam van het hoofdpersonage in een roman van de Italiaanse schrijver Italo Calvino (door Durham genoemd in [andere kunstwerken](http://ensembles.mhka.be/items/2306)). In het boek geeft Palomar filosofisch commentaar op de wereld rond hem, zoals speculaties over de kosmos, tijd en de ware aard van het zijn, maar ook observaties over antropologische en culturele kwesties. "},{"locale":"fr","description":"À première vue, *M. Palomar* est juste une autre pierre de Jimmie Durham, qui a gagné en subjectivité à travers le geste d’artiste. Mais le titre nous emmène bien plus loin : M. Palomar est en fait le nom de du personnage principal du roman de l’écrivain italien Italo Calvino (que Durham cite aussi dans [autres œuvres](http://ensembles.mhka.be/items/2306)). Tout au long du livre, M. Palomar livre des commentaires philosophiques sur le monde qui l’entoure, des spéculations sur le cosmos, le temps et la vraie nature de l’existence, ainsi que des observations à propos de question anthropologiques et culturelles."}]},{"id":3279,"title":"Three Pretentious Rocks","dimensions":"40 x 105 x 24 cm","date_begin":"2001-01-01","material":"Stone, wooden shelf, wooden sign","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":1,"collection":"Collection of Jone Kvie, Sweden","cached_tag_list":"","publishing_process_id":1,"annotation":"Also: \"Three Pretentious Stones\".\r\nShelf: 105 x 24 cm, painted wood, black ink pen\r\n\"shelf-holders\": 20 x 28 cm, steel (can be taken of from shelf) Biggest rock: 20 x20x 25 cm\r\nSign: 30 x 10 cm, painted wood with black pen.\r\nCurrently in the possession of Jone Kvie, Vitaby, Sweden.\r\n\r\nInsurance value: 40.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational purposes. Should be listed as belonging to the Jone Kvie collection, Sweden","date_end":null,"reference":"","stream_count_app":36,"permalink":"three-pretentious-rocks","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/477/large/DSC_0554.jpg?1337778940","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"The three rocks presented here side-by-side on a shelf are like many others of Jimmie Durham’s stones: pretentious. A small gesture made by the artist transforms them into something else. Here, instead of painting them in a [pretty colour](http://ensembles.mhka.be/items/915) or giving them human features like [eyes](http://ensembles.mhka.be/items/1690) or limbs, the artist placed three name plates underneath each one, labeling them as “doctor”, “lawyer” and “indian chief”."},{"locale":"nl","description":"De drie stenen hier naast elkaar op een plank zijn zoals vele andere stenen van Jimmie Durham: pretentieus. Een kleine ingreep door de kunstenaar transformeert ze in iets anders. In plaats van ze te verven in een [mooie kleur](http://ensembles.mhka.be/items/915) of ze menselijke kenmerken te geven zoals [ogen](http://ensembles.mhka.be/items/1690) of ledematen, heeft de kunstenaar drie naamplaatjes eronder geplaatst, met de labels “doctor” (dokter), “lawyer” (advocaat) en “indian chief” (indianenopperhoofd)."},{"locale":"fr","description":"Les trois roches présentées côte à côte sur une étagère sont comme de nombreuses autres pierres de Jimmie Durham : prétentieuses. Un petit geste accompli par l'artiste les transforme en autre chose. Au lieu de les peindre dans une [jolie couleur](http://ensembles.mhka.be/items/915) ou de leur donner des caractéristiques humaines, comme des [yeux](http://ensembles.mhka.be/items/1690) ou des membres, l'artiste a posé trois plaques nominatives sous chaque pierre, leur donnant le titre de « docteur », d'« avocat » et de « chef indien »."}]},{"id":3304,"title":"Element from The Little Carpenter","dimensions":"21 x 150 cm","date_begin":"1987-01-01","material":"Snakeskin, paint","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":1,"collection":"Private collection, Geneva","cached_tag_list":"","publishing_process_id":1,"annotation":"Currently in the possession of Danielle Fiard, Genève, Switzerland. image rights: Ilmari Kalkkinen (which photo?)","date_end":null,"reference":"","stream_count_app":35,"permalink":"element-from-the-little-carpenter","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/312/large/Serpent%20tete.jpg?1328016698","poster_credits":null,"translations":[{"locale":"en","description":"This snake-shaped piece was part of the exhibition [*Pocahontas and the Little Carpenter in London*](http://ensembles.mhka.be/events/pocahontas-and-the-little-carpenter-in-london) where an ensemble of works were presented as a commentary on the myth of Pocahontas. "},{"locale":"nl","description":"Dit slangvormige werk maakte deel uit van de tentoonstelling [*Pocahontas and the Little Carpenter in London*](http://ensembles.mhka.be/events/pocahontas-and-the-little-carpenter-in-london), waar een ensemble van werken werd gepresenteerd die de mythe van Pocahontas becommentarieerden."},{"locale":"fr","description":"Cette œuvre à la forme de serpent faisait partie de l'exposition [*Pocahontas and the Little Carpenter in London*](http://ensembles.mhka.be/events/pocahontas-and-the-little-carpenter-in-london), où un ensemble d'œuvres a été présenté comme un commentaire sur le mythe de Pocahontas.\r\n"}]},{"id":3990,"title":"Snack bar variations","dimensions":"","date_begin":"2005-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"poetry","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"snack-bar-variations","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/601/large/snack%20bar.jpg?1331633952","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3525,"title":"Towards Light","dimensions":"","date_begin":null,"material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"scale, collected stones","publishing_process_id":1,"annotation":"date? ","date_end":null,"reference":"","stream_count_app":17,"permalink":"towards-light","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/598/large/vlcsnap-2012-02-07-14h39m50s202.png?1328624003","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3526,"title":"A stone Asleep in Bed at Home","dimensions":"","date_begin":"2000-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"collected stones","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"a-stone-asleep-in-bed-at-home--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/599/large/vlcsnap-2012-02-07-14h41m42s32.png?1328624211","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3527,"title":"Stoning the Refrigerator","dimensions":"","date_begin":"1996-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":24,"permalink":"stoning-the-refrigerator","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/600/large/vlcsnap-2012-02-07-14h43m32s117.png?1328624428","poster_credits":null,"translations":[{"locale":"en","description":"Video of the making of *[St Frigo](http://ensembles.mhka.be/items/st-frigo)*"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3531,"title":"Crazy for Life","dimensions":"","date_begin":"1990-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"performance","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"crazy-for-life","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/604/large/vlcsnap-2012-02-07-16h21m36s83.png?1328628104","poster_credits":null,"translations":[{"locale":"en","description":"Video documentation of the performance *Crazy for Life* at the Bessie Schonberg Theater on June 10th 1990.\r\n\r\nJimmie Durham sits on stage and reads from a book, saying and singing things in many languages, including racist songs about indians. *Crazy for Life* is – says Durham during his performance – the title of the biography of Crazy Horse, a war chief of the Sioux Indian tribe in the United States."},{"locale":"nl","description":"Jimmie Durham zit op een podium, leest uit een boek en zegt en zingt dingen in vele talen, onder andere ook racistische liederen over indianen. *Crazy for Life* is – zo zegt Durham tijdens zijn optreden – de titel van de biografie van Crazy Horse, een opperhoofd van een Sioux-indianenstam uit de Verenigde Staten."},{"locale":"fr","description":"Jimmie Durham prend place sur scène et lit un livre, il dit et chante des choses en plusieurs langues, y compris des chants racistes envers les Indiens. *Crazy for Life* est, explique Durham pendant la performance, le titre de la biographie de Crazy Horse, un chef de guerre légendaire de la tribu des Sioux aux États-Unis."}]},{"id":3607,"title":"The pen is mightier, Mexico","dimensions":"81 x 61 cm","date_begin":"2009-01-01","material":"graphite, cotton paper","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":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"penis","publishing_process_id":1,"annotation":"Signed \"Jimmie Durham\" and dated \"09\" on back and lower right hand corner","date_end":null,"reference":"JD1878","stream_count_app":12,"permalink":"the-pen-is-mightier-mexico","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/820/large/JD1878.jpg?1328873650","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3638,"title":"Public Transaction","dimensions":"","date_begin":"2002-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":55,"permalink":"public-transaction","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/890/large/2.jpeg?1329135711","poster_credits":"image: (c) Allard Willemse","translations":[{"locale":"en","description":"Location: Street Level Festival, ’s Hertogenbosch (NL)\r\nMay 26th 2002."},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3649,"title":"Savage","dimensions":"","date_begin":"1991-01-01","material":"","short_description":"Location: Stedelijk Museum voor Actuele Kunst (SMAK), Ghent, Belgium.\r\nMay 24th, 1991.","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"images (c): Dirk Pauwels?","date_end":null,"reference":"","stream_count_app":36,"permalink":"savage","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/911/large/1.jpeg?1329138338","poster_credits":"image: (c) Dirk Pauwels","translations":[{"locale":"en","description":"Performance at the SMAK in Ghent. Read the accompanying text bellow."},{"locale":"nl","description":"Performance in het SMAK in Gent. Lees de begeleidende tekst hieronder."},{"locale":"fr","description":""}]},{"id":3687,"title":"The Center of the World or How to get at Chalma","dimensions":"","date_begin":"1997-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"","cached_tag_list":"stones, finland","publishing_process_id":1,"annotation":"http://en.wikipedia.org/wiki/Chalma,_Malinalco,_Mexico_State","date_end":null,"reference":"","stream_count_app":31,"permalink":"the-center-of-the-world-or-how-to-get-at-chalma","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/983/large/chalma%201.jpeg?1329475866","poster_credits":"(c) image: Maria Thereza Alves","translations":[{"locale":"en","description":"\"The Museum of Contemporary Art in Pori, Finland, invited me to do something there in 1997. I got a truck-load of rocks the size of fists or potatoes and put them all over the floor of the museum, even in the offices, toilets, and the gift shop. I also put these rocks outside the building, on the sidewalk and into the street. They were not so densely placed that they made a covering; spaced from 50 cm to 100 cm apart. I was trying, with these “free” stones to see if I could free up the architecture itself, and its agenda for the museum. (Not to fight or attack—the building is quite beautiful and well-suited to be an art museum.)\" [full text [here](http://ensembles.mhka.be/items/3174)]\r\n\r\nRead bellow Jimmie Durham’s text for the installation."},{"locale":"nl","description":"\"Het Museum van Hedendaagse Kunst in Pori (Finland) nodigde me in 1997 uit om daar iets te doen. Ik haalde een vrachtwagen vol vuistgrote keien of aardappelen en legde ze allemaal op de vloer van het museum, zelfs in de kantoren, de toiletten, en de museumwinkel. Ik legde de keien ook buiten het gebouw, op de stoep en de straat. Ze waren niet zo dicht op elkaar geplaatst dat ze de oppervlakte bedekten; ze lagen op een afstand van 50 tot 100 cm uit elkaar. Met deze 'vrije' stenen probeerde ik te zien of ik de architectuur zelf, en de verborgen agenda die ze voor het museum vertegenwoordigt, kon vrijmaken. (Niet om te ruzie te zoeken of kritiek te spuien – het gebouw is heel mooi en prima geschikt als kunstmuseum.)\" [volledige tekst [hier](http://ensembles.mhka.be/items/3174)]\r\n\r\nLees hieronder Jimmie Durhams tekst voor de installatie."},{"locale":"fr","description":"« Le Musée d'Art contemporain de Pori en Finlande m'a invité à réaliser un projet en 1997. J'ai fait remplir un camion de pierres de la taille d'un poing ou d'une pomme de terre et je les ai disposées sur tout le sol du musée, jusque dans les bureaux, les toilettes et la boutique de souvenirs. J'ai également déposé des pierres à l'extérieur du bâtiment, sur les trottoirs et dans la rue. Elles n'étaient pas alignées de manière très dense de sorte à entièrement recouvrir le sol en dessous, il y avait chaque fois un espace de 50 à 100 cm entre les pierres. Avec ces pierres “libres”, j'essayais de voir si je pouvais libérer l'architecture elle-même, ainsi que son programme pour le musée. (Non pas pour me quereller ou porter atteinte – l'édifice est assez beau et convient très à sa fonction muséale) ». [texte intégral [ici](http://ensembles.mhka.be/items/3174)]"}]},{"id":3697,"title":"Hommage à Filliou 2","dimensions":"","date_begin":"2003-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"hommage-a-filliou-2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/989/large/01020114.JPG?1329488998","poster_credits":null,"translations":[{"locale":"en","description":"\"The show [at the [Venice Biennale, 2003](http://ensembles.mhka.be/events/104)] was curated by the artist Gabriel Orozco, with the instruction that we would attempt to make spontaneous and quotidian pieces, things with a strange common-ness. I found a piece of grey PVC pipe that had so much pigeon dung on it that it looked like a stalagmite formation.\r\n\r\nI then placed it along with the sign, (...) “Please do not shit on this piece,” next to a work by another artist which had the warning, “Please do not sit on this piece.” My real work in the show was called *[Homage to Robert Filliou](http://ensembles.mhka.be/items/1786)*, so I called the joke piece *Homage to Robert Filliou 2*, because I thought it had something of the spirit of some of [Filliou](http://ensembles.mhka.be/actors/robert-filliou)’s work.\" [full text [here](http://ensembles.mhka.be/items/3200)]"},{"locale":"nl","description":"“Curator van de tentoonstelling [op de [Biënnale van Venetië, 2003](http://ensembles.mhka.be/events/104)] was kunstenaar Gabriel Orozco, die ons opdroeg om spontane en dagelijkse dingen proberen te maken, dingen met een vreemde gewoonheid. Ik vond een stuk grijze pvc-buis met zoveel duivenstront erop dat het een stalagmietvorming leek. \r\n\r\nIk plaatste het met het bordje (...) “Niet op schijten a.u.b.” naast een werk van een andere kunstenaar, dat de waarschuwing had “Niet op zitten a.u.b.” Mijn echte werk in de tentoonstelling heette [*Hommage aan Robert Filliou*](http://ensembles.mhka.be/items/1786), dus ik noemde het grapje *Hommage aan Robert Filliou 2*, omdat ik vond dat het wat had van de geest van enkele werken van [Filliou](http://ensembles.mhka.be/actors/robert-filliou).” [Lees de volledige tekst [hier](http://ensembles.mhka.be/items/3200)]"},{"locale":"fr","description":"« Le commissaire de l'exposition [à la [Biennale de Venise, 2003](http://ensembles.mhka.be/events/104)] était l'artiste Gabriel Orozco. Nous avions reçu la consigne de tenter de réaliser des œuvres spontanées et autour du quotidien, d'une étrange banalité. J'ai trouvé un tuyau en PVC gris couvert de tant de crotte de pigeons que cela ressemblait à une stalagmite en formation.\r\n\r\nJe l'ai alors installée à côté du panneau (…) “Please do not shit on this piece” (prière de ne pas déféquer sur cette pièce), qui jouxtait l'œuvre d'un autre artiste portant l'avertissement “Please do not sit on this piece” (prière de ne pas s'asseoir sur cette pièce). Ma véritable œuvre dans l'exposition s'intitulait [*Homage à Robert Filliou*], donc j'ai intitulé l'œuvre plaisanterie *Homage à Robert Filliou 2*, parce que je trouvais qu'il y avait quelque chose de l'esprit de [Filliou](http://ensembles.mhka.be/actors/robert-filliou) dans cette œuvre. [texte intégral [ici](http://ensembles.mhka.be/items/3200)]"}]},{"id":3678,"title":"Pallas Athena","dimensions":"245 x 145 x 90 cm","date_begin":"2008-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection of Dora Stiefelmeier, Rome","cached_tag_list":"","publishing_process_id":1,"annotation":"Collection Dora Stiefelmeier, Rome. Pick up in Paliano (Frosinone). Insurance value: 60.000 euros. Owner has agreed to let the object be photographed for catalogue, press and educational purpose. Should be listed as belonging to Dora Steifelmeier, Rome. ","date_end":null,"reference":"","stream_count_app":29,"permalink":"pallas-athena","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/998/large/durham_0021.jpg?1329832039","poster_credits":"(c)image: Marco Fedele di Catrano","translations":[{"locale":"en","description":"Jimmie Durham does not believe that works should be illustrative; a sculpture is, for example, not the illustration of a concept. In Durham’s work, over-interpretation and metaphors are not necessary, and the artist invites the spectator to contemplate his piece as it is, investigating its various (often surprising) components. \r\n\r\nIn *Pallas Athena* we can perceive the same working process as in other of Jimmie Durham’s [figures](http://ensembles.mhka.be/ensembles/animal-skulls-and-other-figures), except that this time we encounter a familiar element: a mask used by Jimmie in his [*Self-Portrait Pretending to Be Maria Thereza Alves as Terminator*](http://ensembles.mhka.be/items/902). It is in fact a cast of the artist’s partner, perhaps allowing us to interpret this awkward figure on a wooden stick as an homage to a personal goddess of wisdom."},{"locale":"nl","description":"Jimmie Durham vindt dat kunstwerken niet uitbeeldend moeten zijn; een beeldhouwwerk is, bijvoorbeeld, niet de uitbeelding van een concept. Over-interpretatie en metaforen zijn niet noodzakelijk in Durhams werk, en de kunstenaar nodigt de toeschouwer uit om zijn werk te beschouwen zoals het is, en de verschillende (vaak verrassende) onderdelen te onderzoeken. \r\n\r\nIn *Pallas Athena* zien we hetzelfde werkproces als in andere [figuren](http://ensembles.mhka.be/ensembles/animal-skulls-and-other-figures) van Jimmie Durham. Maar deze keer hebben we ook te maken met een vertrouwd element: een masker dat Durham gebruikte in zijn [*Self-Portrait Pretending to Be Maria Thereza Alves as Terminator*](http://ensembles.mhka.be/items/902). In feite is het een gietvorm van de partner van de kunstenaar. Misschien kunnen we dus deze vreemde figuur op een houten stok interpreteren als een hommage aan een persoonlijke godin van de wijsheid."},{"locale":"fr","description":"Jimmie Durham ne pense pas que les œuvres d'art devraient être illustratives. Une sculpture, par exemple, n’est pas l’illustration d’un concept. Dans l’œuvre de Durham, la surinterprétation et les métaphores sont superflues. L’artiste invite les visiteurs à contempler ses œuvres pour ce qu’elles sont et à examiner leurs différentes composantes, souvent surprenantes.\r\n\r\nDans Pallas Athena, nous pouvons percevoir le même processus de travail que pour d’autres de ses [personnages](http://ensembles.mhka.be/ensembles/animal-skulls-and-other-figures), si ce n’est que cette fois, nous rencontrons un élément familier : le masque que Jimmie a utilisé pour son œuvre [*Self-Portrait Pretending to Be Maria Thereza Alves as Terminator*](http://ensembles.mhka.be/items/902). Il s’agit en fait d’un moule du visage de la partenaire de l’artiste, qui nous permet peut-être d’interpréter ce personnage, maladroitement posé sur un bâton en bois, comme un hommage à une déesse personnelle de la sagesse."}]},{"id":3711,"title":"Four Scenes for the British Army","dimensions":"","date_begin":"1988-01-01","material":"","short_description":"Location: Derry, United Kingdom.\r\n23 May 1988","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"'In 1988 one was not allowed to take photo's in Derry (this was a British Army regulation). I wanted to include photos of Derry as part of my sculptural piece, so I made 4 small performances which were meant to distract the soldiers while photographer Rory Poland took photos' Jimmie Durham, 1988/'Jimmie Durham' Laura Mulvey, Dirk Snauwaert, Mark Alice Durant, Phaidon Press, p. 22 - 23","date_end":null,"reference":"","stream_count_app":21,"permalink":"four-scenes-for-the-british-army","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/035/large/army%201.jpeg?1330007366","poster_credits":"image: (c) Rory Poland","translations":[{"locale":"en","description":"\"In 1988 one was not allowed to take photo's in Derry (this was a British Army regulation). I wanted to include photos of Derry as part of my sculptural piece, so I made four small performances which were meant to distract the soldiers while photographer Rory Poland took photos\". [Jimmie Durham, 1988. In *Jimmie Durham* Laura Mulvey, Dirk Snauwaert, Mark Alice Durant, Phaidon Press, p. 22 - 23]"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3712,"title":"Détour","dimensions":"","date_begin":"2005-01-01","material":"PVC, stone","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"Location: Parc de Pourtalès de Strasbourg,/CEAAC - Centre Européen d'Actions Artistiques Contemporaines, Strasbourg - Robertseau, France. http://www.ceaac.org/html/espace_public/pourtales/durham/frame.htm","date_end":null,"reference":"","stream_count_app":27,"permalink":"detour","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/041/large/detour%201.jpeg?1330008188","poster_credits":"Courtesy of CEAAC","translations":[{"locale":"en","description":"Permanent installation with PVC tubing at the Parc de Pourtalès de Strasbourg, organized by the CEAAC - Centre Européen d'Actions Artistiques Contemporaines in Strasbourg, France."},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3700,"title":"The Road Not Taken","dimensions":"ca 180 x 70 x 70","date_begin":"2007-01-01","material":"wood, leather, horse skull","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":"Reinking Collection, Hamburg","cached_tag_list":"","publishing_process_id":1,"annotation":"Collection Rik Reinking, Hamburg, currently in his possession (Dorotheenstrasse 107, DE-22301 Hamburg, Germany). Crated in box: 75 x 75 x 200 cm Owner has agreed to having the work photographed for catalogue, TV, press and educational purpose. Should be listed as belonging to Sammlung Reinking, Hamburg (or) Reinking Collection, Hamburg.","date_end":null,"reference":"","stream_count_app":22,"permalink":"the-road-not-taken--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/995/large/_MG_2016.JPG?1329831100","poster_credits":"(c)image: Roman März, Berlin","translations":[{"locale":"en","description":"*The Road Not Taken* is a wooden figure with a horse skull from which electrical cables with loose ends come out. The photo seen here shows this artwork as it was first exhibited in the St. Elisabeth-Kirche in Berlin. This Neo-Classical building from 1835 served as a church before it was almost totally destroyed during World War II except for its outside walls. It remained a ruin for more than 40 years until it became a venue for concerts and exhibitions. Jimmie Durham has made the ensemble of works shown at the exhibition [Metaphrase/Metathesis](http://ensembles.mhka.be/events/metaphrase-metathesis) in 2007 especially for this space."},{"locale":"nl","description":"*The Road Not Taken* is een houten sculptuur met een paardenschedel waaruit elektrische kabels met losse uiteinden te voorschijn komen. De foto die hier te zien is toont hoe dit werk voor het eerst werd tentoongesteld in de St. Elisabeth-Kirche in Berlijn. Dit neoclassicistische gebouw uit 1835 functioneerde eerst als kerk, totdat het in de Tweede Wereldoorlog bijna volledig verwoest werd, uitgezonderd de buitenmuren. Gedurende meer dan 40 jaar bleef het een ruïne, waarna het een locatie werd voor concerten en tentoonstellingen. In 2007 maakte Durham speciaal voor deze ruimte het ensemble van werken dat op de tentoonstelling [Metaphrase/Metathesis](http://ensembles.mhka.be/events/metaphrase-metathesis) werd getoond. "},{"locale":"fr","description":"*Road Not Taken* est une sculpture en bois avec un crâne de cheval fabriqué avec des câbles électriques dont les extrémités sont apparentes. La photo que l'on voit ici montre l'œuvre telle qu'elle fut exposée pour la première fois à la St. Elisabeth-Kirche à Berlin. Cet édifice néo-classique construit en 1835 a fait fonction d'église jusqu'à sa destruction quasi totale pendant la Seconde Guerre mondiale. Seuls ses murs extérieurs ont résisté. L'église est restée une ruine pendant plus de 40 ans jusqu'à sa conversion en salle de concerts et d'expositions. Jimmie Durham a réalisé spécialement pour cet espace l'ensemble d'œuvres présenté à l'exposition [Metaphrase/Metathesis](http://ensembles.mhka.be/events/metaphrase-metathesis) en 2007."}]},{"id":3713,"title":"Virginia/Veracruz","dimensions":"","date_begin":"1992-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"staged in Monterey, Mexico. images (c) Juan Llaguno","date_end":null,"reference":"","stream_count_app":34,"permalink":"virginia-veracruz--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/049/large/virginia%201.jpeg?1330009678","poster_credits":"image: (c) Juan Llaguno","translations":[{"locale":"en","description":"Jimmie Durham’s and Maria Thereza Alves’ performance *Virginia/Veracruz*, also called *Columbus Day*, was enacted in Monterrey (Mexico), [London](http://ensembles.mhka.be/items/3941) and [Madrid](http://ensembles.mhka.be/items/3942). The artists took on the role of “the colonized”, [subaltern](http://goo.gl/65f3W) to the colonizer and therefore deprived of speech. \r\n\r\nColumbus Day is a festivity that celebrates the arrival of Columbus in the American continent and Veracruz, Mexico, was the first Spanish settlement in the Americas. It was founded by Hernán [Cortés](http://ensembles.mhka.be/items/552), and is known as the place where the mestizo \"race\" has its roots. Virginia was the first permanent English colony in the New World and carries a history of slave labour, land stolen from Native American tribes, massacres of indians as well as being the scenery for the story of [Pocahontas](http://ensembles.mhka.be/events/pocahontas-and-the-little-carpenter-in-london) and [John Smith](http://ensembles.mhka.be/items/627). "},{"locale":"nl","description":"De performance van Jimmie Durham en Maria Thereza Alves, getiteld *Virginia/Veracruz* en ook wel *Columbus Day* genoemd, werd opgevoerd in Monterrey (Mexico), [London](http://ensembles.mhka.be/items/3941) en [Madrid](http://ensembles.mhka.be/items/3942). De kunstenaars namen de rol op van 'de gekoloniseerde', ondergeschikt aan de kolonisator en dus van spraak beroofd. \r\n\r\nColumbus Day is een feest dat de komst van Columbus op het Amerikaanse continent viert en de Mexicaanse havenstad Veracruz was de eerste Spaanse nederzetting op het Amerikaanse continent. Veracruz werd opgericht door Hernán [Cortés](http://ensembles.mhka.be/items/552) en staat bekend als de plaats waar het mestizo-'ras' zijn wortels heeft. Virginia was de eerste permanente Engels kolonie in de Nieuwe Wereld. Ze sleept een geschiedenis met zich mee van slavenarbeid, van indiaanse stammen gestolen land en moordpartijen op indianen. Ook het verhaal van [Pocahontas](http://ensembles.mhka.be/events/pocahontas-and-the-little-carpenter-in-london) en [John Smith](http://ensembles.mhka.be/items/627) speelt zich hier af."},{"locale":"fr","description":"Jimmie Durham et Maria Thereza Alves ont présenté leur performance intitulée *Virginia/Veracruz*, mais aussi *Columbus Day*, à Monterrey (Mexique), [Londres](http://ensembles.mhka.be/items/3941) et [Madrid](http://ensembles.mhka.be/items/3942). Les deux artistes ont adopté le rôle du « colonisé », [subalterne](http://fr.wikipedia.org/wiki/Subalternit%C3%A9) du colonisateur et donc privé de parole. \r\n\r\nColumbus Day est un jour férié qui commémore l'arrivée de Christophe Colomb sur le continent américain, et Veracruz (« la vraie croix ») au Mexique était la première colonie espagnole en Amérique. Fondée par Hernán [Cortés](http://ensembles.mhka.be/items/552), elle est connue comme le lieu d'origine de la « race » métisse. La Virginie, première colonie anglaise permanente dans le Nouveau Monde, est porteuse d'une histoire d'esclavagisme, de terre volée aux tribus amérindiennes, de massacre d'Amérindiens. C'est aussi là que s'est déroulée l'histoire de [Pocahontas](http://ensembles.mhka.be/events/pocahontas-and-the-little-carpenter-in-london) et [John Smith](http://ensembles.mhka.be/items/627)."}]},{"id":3727,"title":"Untitled (performance at Reykjavik Experiment Marathon)","dimensions":"","date_begin":"2008-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"untitled-performance-at-reykjavik-experiment-marathon","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/108/large/Screen%20shot%202012-02-28%20at%2014.41.25.png?1330436321","poster_credits":null,"translations":[{"locale":"en","description":"Jimmie Durham's performance at the Reykjavik Experiment Marathon in 2008.\r\n\r\nWhen his act was over, a vitrine cover was lowered onto the tabletop, preserving the relics of the performance. \r\n\r\nWatch bellow the video of the performance."},{"locale":"nl","description":"Jimmie Durhams performance op de Reykjavik Experiment Marathon in 2008.\r\n\r\nToen zijn performance voorbij was, werd er een vitrinekast neergelaten op het tafelblad, om zo de relieken van de performance te bewaren. \r\n\r\nBekijk de video van de performance hieronder."},{"locale":"fr","description":"La performance au Reykjavik Experiment Marathon en 2008.\r\n\r\nLorsqu'il avait terminé, le dessus d'une vitrine a été posé sur la table afin de préserver les reliques de la performance. \r\n\r\nVous pouvez visionner la vidéo de la performance en cliquant ci-dessous."}]},{"id":3718,"title":"Almost Spontaneous #4","dimensions":"120 x 100 cm","date_begin":"2003-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":9,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of the artist and Galerie Michel Rein, Paris","cached_tag_list":"","publishing_process_id":1,"annotation":"Provenance: Galerie Michel Rein (Paris), sold in 2005","date_end":null,"reference":"05-522","stream_count_app":30,"permalink":"almost-spontaneous-4","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/074/large/Vue_339-09.jpg?1334662749","poster_credits":"(c) Michel Rein Collection, Paris","translations":[{"locale":"en","description":"In preparation for the video-performance [*Tocetea*](http://ensembles.mhka.be/items/925), Jimmie Durham had placed wooden boards on the walls of the gallery (see [photos](http://ensembles.mhka.be/items/925)), hoping that paint would splash all over the place when the stone eventually fell in the bucket, creating various colour impressions on the boards. But that was not the case - the boards remained intact. Durham then peeled the acrylic paint from the floor and glued them on the wooden boards, *almost spontaneously*."},{"locale":"nl","description":"Ter voorbereiding van de videoperformance [*Tocetea*](http://ensembles.mhka.be/items/925), had Jimmie Durham houten planken tegen de muur van de galerie geplaatst (bekijk de [foto’s](http://ensembles.mhka.be/items/925)), in de hoop dat de verf in het rond zou vliegen wanneer de steen uiteindelijk in de emmer zou vallen, en zo verschillende kleurimpressies op de planken zou creëren. Maar dat was niet het geval – de planken bleven intact. Durham schraapte dan de acrylverf van de vloer en kleefde hem op de houten planken, *bijna spontaan*."},{"locale":"fr","description":"En préparant la performance vidéo [*Tocetea*](http://ensembles.mhka.be/items/925), Jimmie Durham a couvert les murs de la galerie de planches en bois (voir [photos](http://ensembles.mhka.be/items/925)), en espérant que la peinture éclabousse tout l'espace quand la pierre tombe finalement dans le seau, créant diverses impressions de couleur sur les planches. Mais ce ne fut pas le cas – les planches sont demeurées intactes. Durham a alors détaché la peinture acrylique du sol et l'a collée sur les planches en bois, *quasi spontanément*."}]},{"id":3686,"title":"A Staff for the Center of the World in Siberia","dimensions":"","date_begin":"1995-01-01","material":"","short_description":"\u003cp\u003eLocation: Yakutsk, Republic of Yakutia\u003c/p\u003e\r\n","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"Yakutia Yakutsk russia Siberia","publishing_process_id":1,"annotation":"\u003cp\u003efragment above from the text published in the catalogue for the exhibition Strangers in the Arctic: http://ensembles.mhka.be/items/strangers-in-the-arctic\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":36,"permalink":"a-staff-for-the-center-of-the-world-in-siberia","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":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/979/large/siberia-M.jpg?1329469560","poster_credits":"image: (c) Yrjö Haila","translations":[{"locale":"en","description":"\u003cp\u003e\u0026quot;Maybe I Will Do Nothing Visible in Yakutia. Certainly I cannot either take artwork there and leave it, nor make artwork there and bring it back to Tycho Brahe\u0026rsquo;s house in Copenhagen where we will all meet up. I will take tobacco and leave it as a private ceremony of adoption into [Eurasia](http://ensembles.mhka.be/ensembles/eurasia), but except for this sentence that will not be part of the art project. (It will instead be part of future art projects.) I will take a small mirror that I found in the flea market in Lisboa. It reflects evil thoughts and spirits back onto themselves. If I make a staff to represent the center of the world in Yakutsk, of what wood could it be? Birch, I suppose; because birch tea is good for your eyes and because \u0026ldquo;birch\u0026rdquo; originally means \u0026ldquo;bright\u0026rdquo; in every language (Kotsun\u0026rsquo; wa).\u0026quot;[full text [here](http://ensembles.mhka.be/items/3168)] Read an account of Durham\u0026#39;s quest in Siberia in his [text](http://ensembles.mhka.be/items/3934) for the [catalogue](http://ensembles.mhka.be/items/5012) of the [exhibition](http://ensembles.mhka.be/events/jimmie-durham-a-matter-of-life-and-death-and-singing) at M HKA.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026quot;Ik zal waarschijnlijk niks zichtbaar doen in Jakoetia. Wat zeker is, is dat ik er geen kunstwerk naartoe kan brengen en het daar laten, noch daar een kunstwerk kan maken en het terug mee naar huis brengen (...). Ik zal tabak nemen en hem daar laten als een private adoptieceremonie in [Eurazi\u0026euml;](http://ensembles.mhka.be/ensembles/eurasia), met uitzondering van deze zin, die geen deel zal zijn van het kunstproject. (Hij zal in plaats daarvan een deel zijn van toekomstige kunstprojecten.) Ik zal een kleine spiegel nemen die ik op de rommelmarkt in Lisboa vond. Hij spiegelt slechte gedachten en geesten terug op zichzelf. Als ik een staf maak om in Jakoetsk het centrum van de wereld te verbeelden, van welk hout zou die dan kunnen zijn? Berk, denk ik, omdat berkenthee goed is voor je ogen en omdat \u0026#39;berk\u0026#39; in elke taaloorspronkelijk \u0026#39;helder\u0026#39; betekent (Kotsun\u0026#39; wa).\u0026#39; [volledige Engelse tekst [hier](http://ensembles.mhka.be/items/3168)] Lees een verslag van Durhams zoektocht in Siberi\u0026euml; in zijn [tekst](http://ensembles.mhka.be/items/3934) voor de [catalogus](http://ensembles.mhka.be/items/5012) van de M HKA-[tentoonstelling](http://ensembles.mhka.be/events/jimmie-durham-a-matter-of-life-and-death-and-singing).\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Peut-\u0026ecirc;tre ne ferais-je rien de visible en Yakutie. De toute \u0026eacute;vidence, je ne peux ni emporter une \u0026oelig;uvre l\u0026agrave;-bas et l\u0026#39;y laisser, ni y r\u0026eacute;aliser une \u0026oelig;uvre et la ramener (\u0026hellip;) Je vais prendre du tabac et le laisser l\u0026agrave; en tant que c\u0026eacute;r\u0026eacute;monie priv\u0026eacute;e d\u0026#39;adoption en [Eurasie](http://ensembles.mhka.be/ensembles/eurasia), \u0026agrave; l\u0026#39;exception de cette phrase qui ne fera pas partie du projet artistique. (En revanche, elle fera partie de projets artistiques \u0026agrave; venir.) \u2028Je vais prendre un petit miroir trouv\u0026eacute; dans un march\u0026eacute; aux puces \u0026agrave; Lisbonne. Il refl\u0026egrave;te sur eux-m\u0026ecirc;mes les mauvaises pens\u0026eacute;es et les esprits malveillants. Si je fabrique un poteau pour marquer le centre du monde \u0026agrave; Yakutsk, de quel bois faudrait-il le confectionner\u0026nbsp;? En bouleau j\u0026#39;imagine, parce que le th\u0026eacute; de bouleau est bon pour les yeux et qu\u0026#39;\u0026agrave; l\u0026#39;origine le terme de bouleau signifie clair, lumineux dans toutes les langues (Kotsun\u0026rsquo; wa). [texte int\u0026eacute;gral en anglais [ici](http://ensembles.mhka.be/items/3168)] Lisez un reportage de la qu\u0026ecirc;te de Durham en Sib\u0026eacute;rie dans son [texte](http://ensembles.mhka.be/items/3934) (en anglais) pour le [catalogue](http://ensembles.mhka.be/items/5012) de l\u0026#39;[exposition]http://ensembles.mhka.be/events/jimmie-durham-a-matter-of-life-and-death-and-singing) au M\u0026nbsp;HKA.\u003c/p\u003e\r\n"}]},{"id":3703,"title":"Arc de Triomphe for Personal Use (Prague version)","dimensions":"230 x 110 x 110 cm","date_begin":"2004-01-01","material":"Wood, paint, metal","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection Ellipse Foundation, Lisbon","cached_tag_list":"","publishing_process_id":1,"annotation":"Currently in the possession of Stichting Ellipse Foundation, Alcabideche, Lissabon.\r\nInsurance value: 17.000 euros. ","date_end":null,"reference":"","stream_count_app":30,"permalink":"arc-de-triomphe-for-personal-use-prague-version","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/000/large/durham.arch.2.jpg?1329832523","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"The first *Arc de Triomphe for Personal Use* was presented in [Calais](http://ensembles.mhka.be/events/48) in 1996. Since then, a [few versions](http://ensembles.mhka.be/ensembles/208) of the “portable and collapsable arch” have been made by Durham. The artist’s parody of the idea of political power represented by monumental architecture is translated in this precarious structure made with poor materials, embedded here with artificial solemnity though the golden paint on the top."},{"locale":"nl","description":"De eerste *Arc de Triomphe for Personal Use* (triomfboog voor privégebruik) werd getoond in [Calais](http://ensembles.mhka.be/events/48) in 1996. Sindsdien werden er door Durham [enkele versies](http://ensembles.mhka.be/ensembles/208) gemaakt van de “draagbare en opvouwbare boog”. Het is een parodie van de kunstenaar op de manier waarop monumentale architectuur politieke macht vertegenwoordigt. Die parodie wordt overgebracht in deze breekbare structuur gemaakt uit arme materialen, hier ingebed met artificiële plechtigheid door de gouden verf op de top. "},{"locale":"fr","description":"Le premier *Arc de triomphe individuel* a été présenté à [Calais](http://ensembles.mhka.be/events/48) en 1996. Depuis, Durham a réalisé plusieurs [versions](http://ensembles.mhka.be/ensembles/208) de ces « arcs portables et susceptibles de s'écrouler ». Cette construction précaire, fabriquée avec des matériaux pauvres et parée ici de solennité artificielle par la peinture dorée à son sommet, traduit la parodie du pouvoir politique incarné par l'architecture monumentale."}]},{"id":3698,"title":"Red Foot","dimensions":"","date_begin":"2007-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist and Galerie Michel Rein, Paris","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"DURH07010","stream_count_app":24,"permalink":"red-foot","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/473/large/DSC_0541.jpg?1337777602","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":"*Red Foot* was one of the works made by Jimmie Durham during his residence at the Atelier Calder in France, 2007. It is, like with the [small figurines](http://ensembles.mhka.be/items/841) made in the same period, a combination of different types of carved wood and found objects. Find out more on the exhibition page of [*Labyrinth*](http://ensembles.mhka.be/events/labyrinth), where many of these works were displayed."},{"locale":"nl","description":"*Reed Foot* was een van de werken die Jimmie Durham maakte tijdens zijn verblijf in het Atelier Calder in Frankrijk in 2007. Zoals bij de [kleine beeldjes](http://ensembles.mhka.be/items/841) die in dezelfde periode werden gemaakt, is het een combinatie van verschillende types houtsnijwerk en gevonden voorwerpen. Lees meer op de tentoonstellingspagina van [*Labyrinth*](http://ensembles.mhka.be/events/labyrinth), waar veel van deze werken werden getoond."},{"locale":"fr","description":"*Red Foot* (pied rouge) était l'une des œuvres réalisées par Jimmie Durham pendant sa résidence à l'Atelier Calder en France, en 2007. De même que les [petites figurines](http://ensembles.mhka.be/items/841) produites à la même période, il s'agit d'une combinaison de différentes sortes de bois sculpté et d'objets trouvés. Pour découvrir plusieurs œuvres de ce type, consultez la page de l'exposition [*Labyrinth*](http://ensembles.mhka.be/events/labyrinth)."}]},{"id":2797,"title":"Fruit Table","dimensions":"00:01:30","date_begin":"2001-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":21,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"Exhibition: More Art about Buildings and Food, Oeiras, Portugal, group show.\r\nCurrent Location (2011): Durham’s storage in Berlin- both the video and table.\r\nImage Rights: Alves.\r\nCurrently in the artist's storage: Grossgörschenstrasse 6, 10827 Berlin, Schöneberg, Germany.","date_end":null,"reference":"","stream_count_app":48,"permalink":"fruit-table","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/530/large/jimmie.JPG?1323186253","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"Jimmie Durham placed fruits on a table and painted a few stones so that they would each resemble one of the pieces of fruit. He smashed (or [stoned](http://ensembles.mhka.be/ensembles/120)) the fruits using the corresponding stone: stone grapes on real grapes, stone banana on real banana, idem with a mango, a watermelon, a papaya...\r\n\r\nThe final artwork consists of the video of the performance and a [table with the stone fruit on it](http://ensembles.mhka.be/items/1677)."},{"locale":"nl","description":"Jimmie Durham legde fruit op een tafel en verfde enkele stenen zodat ze telkens op één van de stukken fruit zouden lijken. Vervolgens sloeg (of [*stoned*](http://ensembles.mhka.be/ensembles/120)) hij ieder stuk fruit met zijn overeenkomstige steen: stenen druiven tegen echte druiven, een stenen banaan tegen een echte banaan, en hetzelfde procedé met mango, watermeloen, papaja enzovoort.\r\n\r\nHet uiteindelijke kunstwerk bestaat uit een video van de performance met een [tafel met het stenen fruit op](http://ensembles.mhka.be/items/1677)."},{"locale":"fr","description":"Jimmie Durham a posé des fruits sur une table et a peint quelques pierres de manière à ce que chacune ressemble à un fruit. Il a écrasé (ou [*stoned*](http://ensembles.mhka.be/ensembles/120)) les fruits en se servant chaque fois des pierres correspondantes : des raisins de pierre sur des raisins, une banane en pierre sur une banane, et ainsi de suite pour une mangue, une pastèque, une papaye...\r\n\r\nL'œuvre définitive consiste en une vidéo de la performance et de la [table avec les fruits en pierre](http://ensembles.mhka.be/items/1677)."}]},{"id":618,"title":"Un example","dimensions":"46 x 65 x 11 cm","date_begin":"1994-01-01","material":"Wood, stone, papier maché, glass, coal expoxy","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":1,"collection":"Private Collection, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"Galerie Micheline Szwajcer, Antwerp.\r\nImage Rights Philippe de Gobert. Currently in the possession of Ulrike Lindmayer, Antwerpen, België.\r\nInsurance value: 10.000 euros. Packed in cardboard box. Owner had agreed to let the work be photographed for catalogue, press, TV and educational purposes.","date_end":null,"reference":"","stream_count_app":36,"permalink":"un-example","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/006/563/large/218_1994_Un%20example.jpg?1328540776","poster_credits":"(c)image: Philippe De Gobert","translations":[{"locale":"en","description":"*Un example* [*sic*] is a piece in which stones are organized in an atypical structure, forming what looks like an architectural unit. This artwork was part of Durham’s installation at the exhibition [*Architexture*](http://ensembles.mhka.be/events/architexture) in 1994, an ensemble of works which figured at the starting point of Jimmie Durham’s [anti-architecture](http://ensembles.mhka.be/ensembles/against-architecture-against-belief) discourse.\r\n\r\n“Most of nature in cities has been organized: for the un-hindered flow of different kinds of traffic and for the discipline that civilization believes is necessary. Cities are as stony, for example, as are hills and plateaux, but the stones are usually ordered into buildings, streets, curbs, monuments. They, like us, must work.” [full text [here](http://ensembles.mhka.be/items/2369)]"},{"locale":"nl","description":"*Un example* [*sic*] is een werk waarin stenen volgens een atypische structuur georganiseerd zijn.  Ze vormen iets wat lijkt op een architectonische eenheid. Dit kunstwerk maakte deel uit van Durhams installatie, in 1994, op de tentoonstelling [*Architexture*](http://ensembles.mhka.be/events/architexture), een ensemble van werken uit het begin van Jimmie Durhams [anti-architectuurdiscours](http://ensembles.mhka.be/ensembles/against-architecture-against-belief).\r\n\r\n'Het grootse stuk van de natuur in de stad is georganiseerd: omwille van de ongehinderde stroom van verschillende soorten verkeer en omwille van de discipline die, zo gelooft de beschaving, noodzakelijk is. Steden zijn bijvoorbeeld zo stenig als heuvels en plateaus, maar de stenen worden meestal geordend tot gebouwen, straten, stoepranden, monumenten. Zij, net als wij, moeten werken.' [volledige Engelse tekst [hier](http://ensembles.mhka.be/items/2369)]"},{"locale":"fr","description":"*Un example* [sic] est une œuvre dans laquelle des pierres sont organisées selon une structure atypique formant ce qui ressemble à une unité architecturale. Cette œuvre faisait partie de l'installation de Jimmie Durham à l'exposition [Architexture](http://ensembles.mhka.be/events/architexture) en 1994, un ensemble d'œuvres qui constitue le point de départ du discours [anti-architecture](http://ensembles.mhka.be/ensembles/against-architecture-against-belief) de Jimmie Durham.\r\n\r\n« Dans les villes, la nature est en grande partie organisée : pour assurer la fluidité de diverses sortes de circulation et la discipline, que la civilisation croit être nécessaire. Les villes sont aussi pierreuses que les montagnes ou les plateaux, mais les pierres sont en général ordonnées en bâtiments, rues, bords de trottoir,  monuments... [texte intégral en anglais [ici](http://ensembles.mhka.be/items/2369)]"}]},{"id":3699,"title":"I found these pieces of glass just outside what I believe must be the Villa Borghese, in Rome","dimensions":"61 x 43 x 57 cm","date_begin":"1997-01-01","material":"glass, paper, semi-precious stones, metal","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection of Andrea and Johannes Teiser, Germany","cached_tag_list":"","publishing_process_id":1,"annotation":"Insurance value: 50.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational purposes. ","date_end":null,"reference":"","stream_count_app":27,"permalink":"i-found-these-pieces-of-glass-just-outside-what-i-believe-must-be-the-villa-borghese-in-rome","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/991/large/untitled-172_slideJD.jpg?1332413363","poster_credits":"image: (c) Boris Golz","translations":[{"locale":"en","description":"Jimmie Durham walks around cities looking for unexpected encounters and gathering things, as we can read in his text [*Nature in the City*](http://ensembles.mhka.be/items/2369). In this artwork, a few pieces of [semi-precious stones](http://ensembles.mhka.be/items/2214) found by Durham in Rome are placed on a tray together with a handwritten text which does not intend to explain but rather give a new (narrative) dimension to these seemingly worthless stones."},{"locale":"nl","description":"Zoals te lezen valt in zijn tekst [*Nature in the City*](http://ensembles.mhka.be/items/2369), loopt Jimmie Durham in steden rond, op zoek naar onverwachte ontmoetingen en dingen om te verzamelen. In dit kunstwerk zijn een paar stukken [halfedelsteen](http://ensembles.mhka.be/items/2214) die Durham in Rome vond samen met een handgeschreven tekst op een dienblad gelegd. De tekst heeft niet de bedoeling iets uit te leggen, maar wil eerder een nieuwe (verhalende) dimensie geven aan deze schijnbaar waardeloze stenen."},{"locale":"fr","description":"Jimmie Durham arpente les villes à la recherche de rencontres inattendues et rassemble des objets, comme on peut le lire dans son texte [*Nature in the City*](http://ensembles.mhka.be/items/2369). Dans cette œuvre, quelques [pierres semi-précieuses](http://ensembles.mhka.be/items/2214) que Durham a trouvées à Rome sont posées sur un plateau, avec un texte manuscrit qui ne cherche pas à expliquer, mais plutôt à donner une nouvelle dimension (narrative) à ses pierres apparemment sans valeur."}]},{"id":3701,"title":"Charts","dimensions":"51 x 72 cm (x 4)","date_begin":"2005-01-01","material":"pencil, ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy of the artist and Galerie Michel Rein, Paris","cached_tag_list":"","publishing_process_id":1,"annotation":"4 drawings","date_end":null,"reference":"","stream_count_app":21,"permalink":"charts","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/010/large/jd_diag4.jpeg?1329898532","poster_credits":"(c)image: Galerie Michel Rein, Paris","translations":[{"locale":"en","description":"*Charts* is a series of four drawings where pseudo-scientific graphs gain organic forms together with absurd titles and labels. These comical and childlike elements subvert the primary function of a chart and manage to humanize it as well as deprive it of its usual authority.\r\n\r\n“I often think about a division that is the classical division in Western philosophy and culture: the physical versus the mental, the ideal versus the material, intellectual versus sensual. What I am trying to work out is my own theory so that I will not feel so stupid, because I always embarrass myself being unable to make the division. Maybe I am trying with my work to challenge the dichotomy that these things are physical and those things are mental, and that you cannot combine the two.” [full text [here](http://ensembles.mhka.be/items/3160)]\r\n\r\nIn one of the drawings, Durham plays with the words Start/Stop and Star/Top in the same way as in his monumental installation [*Something (Perhaps a Fugue or an Elegy)*](http://ensembles.mhka.be/items/889)."},{"locale":"nl","description":"*Charts* is een serie van vier tekeningen waarin pseudowetenschappelijke grafieken organische vormen aannemen en gecombineerd worden met absurde titels en labels. Deze komische en kinderlijke elementen ondermijnen de primaire functie van een grafiek. Ze slagen er ook in de grafiek te vermenselijken en haar haar gebruikelijke autoriteit te ontnemen.\r\n\r\n'Ik denk vaak aan een indeling die in de westerse filosofie en cultuur de klassieke indeling is: het fysieke versus het mentale, het ideale versus het materiële, het intellectuele versus het sensuele. Wat ik probeer uit te werken is mijn eigen theorie, zodat ik me niet zo stom voel, omdat ik mezelf altijd in verlegenheid breng doordat ik niet in staat ben om de indeling te maken. Misschien probeer ik met mijn werk de dichotomie, dat namelijk deze dingen fysiek zijn en die dingen mentaal, en dat je de twee niet kan combineren, op de proef te stellen.' [Volledige Engelse tekst [hier](http://ensembles.mhka.be/items/3160)]\r\n\r\n\u2028In een van de tekeningen speelt Durham, op dezelfde manier als in zijn monumentale installatie [*Something (Perhaps a Fugue or an Elegy)*](http://ensembles.mhka.be/items/889), met de woorden Start/Stop en Star/Top."},{"locale":"fr","description":"*Charts* est une série de quatre dessins où des graphiques pseudo-scientifiques adoptent des formes organiques aux titres et labels absurdes. Ces éléments comiques et puérils subvertissent la fonction primaire d'un diagramme et parviennent à l'humaniser tout en le privant de son autorité habituelle.\r\n\r\n« Je pense souvent à la division classique dans la philosophie et la culture occidentale : le physique par opposition au mental, l'idéal par opposition au matériel, l'intellectuel par opposition au sensuel. Ce que je tente d'élaborer, c'est ma propre théorie afin de ne pas me sentir stupide, parce que j'ai tout le temps honte de moi, incapable que je suis de les séparer. Peut-être qu'à travers mon œuvre, j'essaie de remettre en question la dichotomie qui catalogue ces choses-là comme physiques et celles-ci comme mentales, et considère que les deux ne sont pas combinables. [texte intégral en anglais [ici](http://ensembles.mhka.be/items/3160)]\r\n\r\nDans l'un des dessins, Durham joue avec les mots Start/Stop et Star/Top de la même manière que dans son installation monumentale [*Something (Perhaps a Fugue or an Elegy)*](http://ensembles.mhka.be/items/889)."}]},{"id":1411,"title":"The Vitrine of Childish Delights","dimensions":"85 x 75 x 25 cm","date_begin":"2001-01-01","material":"Glass vitrine, shells, seeds, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Collection EVN AG, Austria","cached_tag_list":"","publishing_process_id":1,"annotation":"Also: The Vitrine of Childish Pleasures, needs to be transported in a crate. Currently in the possession of Evn Sammlung, Maria Enzersdorf, Austria.\r\nInsurance value: 30.000 euros. The owner has agreed to having the work photographed for catalogue, TV, press and educational use, but only when mentioned: courtesy: evn collection, Maria Enzersdorf, Austria (c) Photo: Margherita Spiluttini. Work will be crated for transport. \r\n","date_end":null,"reference":"","stream_count_app":42,"permalink":"the-vitrine-of-childish-delights","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/980/large/Vitrine_of_Childish_Delights_04.jpg?1334664164","poster_credits":null,"translations":[{"locale":"en","description":"In 2001, the Museum Boijmans van Beuningen in Rotterdam presented an exhibition with works of Dutch painter Hieronymus Bosch (1450-1516) such as [*Ship of Fools*](http://www.ibiblio.org/wm/paint/auth/bosch/fools/fools.jpg), [*Death and the Miser*](http://www.ibiblio.org/wm/paint/auth/bosch/death-miser/death-miser.jpg) and [*Christ Carrying the Cross*](http://www.ibiblio.org/wm/paint/auth/bosch/carrying/carrying.jpg) together with works of contemporary artists like Bill Viola, William Kentridge, Salvador Dalí and Mariko Mori. Jimmie Durham was also among the artists invited to respond to Bosch’s work. He made this small vitrine with a Bosch-inspired landscape populated by animals, monsters and strange plants like in [*The Garden of Earthly Delights*](http://www.computus.org/journal/wp-content/uploads/2009/01/the-garden-of-earthly-delights.jpg)."},{"locale":"nl","description":"In 2001 hield het Museum Boijmans van Beuningen in Rotterdam een tentoonstelling met werk van de Nederlandse schilder Jeroen Bosch (1450-1516), zoals [*Het narrenschip*](http://www.ibiblio.org/wm/paint/auth/bosch/fools/fools.jpg), [*De dood van een vrek*](http://www.ibiblio.org/wm/paint/auth/bosch/death-miser/death-miser.jpg) en [*Kruisdraging*](http://www.ibiblio.org/wm/paint/auth/bosch/carrying/carrying.jpg) samen met werk van hedendaagse kunstenaars als Bill Viola, William Kentridge, Salvador Dalí and Mariko Mori. Jimmie Durham was ook een van de kunstenaars uitgenodigd om in dialoog te treden met het werk van Bosch. Hij maakte een kleine vitrine met een op Bosch geïnspireerd landschap, bevolkt door dieren, monsters en vreemde planten, zoals in [*Tuin der lusten*](http://www.computus.org/journal/wp-content/uploads/2009/01/the-garden-of-earthly-delights.jpg)."},{"locale":"fr","description":"En 2001, le Musée Boijmans van Beuningen à Rotterdam a présenté une exposition des œuvres du peintre hollandais Hieronymus Bosch (1450-1516) avec, entre autres, [*La Nef des Fous*](http://www.ibiblio.org/wm/paint/auth/bosch/fools/fools.jpg), [*La Mort de l'Avare*](http://www.ibiblio.org/wm/paint/auth/bosch/death-miser/death-miser.jpg), et [*Le Portement de Croix*](http://www.ibiblio.org/wm/paint/auth/bosch/carrying/carrying.jpg), parallèlement à des œuvres d'artistes contemporains comme Bill Viola, William Kentridge, Salvador Dalí et Mariko Mori. Jimmie Durham faisait également partie des artistes invités à répondre aux œuvres de Bosch. Il a réalisé une petite vitrine dans laquelle on peut voir des paysages inspirés de Bosch, peuplés d'animaux, de monstres, et d'étranges plantes comme dans [*Le jardin des Délices*](http://www.computus.org/journal/wp-content/uploads/2009/01/the-garden-of-earthly-delights.jpg)."}]},{"id":2543,"title":"Norwegian Construction Lumber n° 2","dimensions":"ca. 5m","date_begin":"2007-01-01","material":"shale, wood, linseed oil","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":1,"collection":"Courtesy of the artist and Galerie Opdahl, Berlin","cached_tag_list":"mixed media, installation","publishing_process_id":1,"annotation":"Currently in the artist's storage: Grossgörschenstrasse 6, 10827 Berlin, Schöneberg, Germany.","date_end":null,"reference":"","stream_count_app":34,"permalink":"norwegian-construction-lumber-n-2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/633/large/Jimmie%20Durham-%20Norwegian%20construction%20lumber%20no.2-Slate,wood.linseed%20oil.JPG?1318414277","poster_credits":null,"translations":[{"locale":"en","description":"*Norwegian Construction Lumber n° 2* is an artwork that shows an essential given in Jimmie Durham’s way of working: his love and celebration of materials. Here, the pure matter is on display: a beautiful piece of wood and its “woodness”, for us to contemplate."},{"locale":"nl","description":"*Norwegian Construction Lumber n° 2* (Noors constructiehout) is een kunstwerk dat een essentieel gegeven in de werkwijze van Jimmie Durham toont: zijn liefde voor en ode aan materialen. Hier is de pure materie te zien: een prachtig stuk hout en zijn ‘houtheid’, waarover wij kunnen contempleren."},{"locale":"fr","description":"*Norwegian Construction Lumber n° 2* (Bois norvégien de charpente) est une œuvre qui montre une donnée essentielle dans le mode opératoire de Jimmie Durham : son amour et sa célébration des matériaux. Ici, il expose de la matière pure : une magnifique pièce en bois et son caractère « boisé » que nous pouvons contempler."}]},{"id":2848,"title":"A Sculpture in Two Dimensions","dimensions":"00:00:30","date_begin":"2004-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":21,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"Exhibition: Fuori, Pescara, Italy (group show)\r\nTitle: A Sculpture in Two Dimensions\r\nDate: 2006.\r\nCurrently in the artist's storage: Grossgörschenstrasse 6, 10827 Berlin, Schöneberg, Germany.\r\nMaterials: video work, of paint rising \r\nCurrent Location (2011): video sold to museum in Bologna (Durham has copy)\r\nImage Rights: Alves\r\n","date_end":null,"reference":"","stream_count_app":50,"permalink":"a-sculpture-in-two-dimensions","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/813/large/ASculptureInTwoDimensions4%20copy.jpg?1323354920","poster_credits":"image(c) Maria Thereza Alves","translations":[{"locale":"en","description":"For this video performance, Jimmie Durham followed the same principle as in [*Tocetea*](http://ensembles.mhka.be/items/925): a heavy stone is thrown inside a bucket full of paint and creates a spontaneous colour impression. However, this time the stone does not have to teach itself how to fall and reaches its destination immediately - or so it seems."},{"locale":"nl","description":"Voor deze videoperformance volgde Jimmie Durham hetzelfde principe als in [*Tocetea*](http://ensembles.mhka.be/items/925): een zware steen wordt in een emmer vol verf gegooid en zorgt voor een spontane kleurafdruk. Echter, dit keer hoeft de steen zichzelf niet te leren hoe te vallen en bereikt hij onmiddellijk zijn bestemming, of zo lijkt het toch."},{"locale":"fr","description":"Pour cette performance vidéo, Jimmie Durham a suivi le même principe que dans [*Tocetea*](http://ensembles.mhka.be/items/925) : une lourde pierre est jetée dans un seau rempli de peinture et crée une impression de couleur spontanée. Néanmoins, cette fois la pierre n'a eu pas besoin d'apprendre à tomber et atteint sa destination d'emblée – ou paraît du moins le faire."}]},{"id":2320,"title":"A Piece of Granite Shaped like a Camel's Head","dimensions":"36 x 23 x 15 cm","date_begin":"2006-01-01","material":"Red granite, glass","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection Prof. Mr. Egbert J. Dommering, The Netherlands","cached_tag_list":"assemblage, mixed media","publishing_process_id":1,"annotation":"Provenance: Courtesy Lumen Travo Gallery, Amsterdam.\r\nCurrently in the possession of professor Egbert J. Dommering, Amsterdam, The Netherlands.\r\nInsurance value: 30.000 euros. The owner has agreed to having the objects photographed for catalogue, press, TV and educational purpose. Should be listed as belonging to the Dommering Collection. \r\n","date_end":null,"reference":"","stream_count_app":29,"permalink":"a-piece-of-granite-shaped-like-a-camel-s-head","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/773/large/09.jpg?1314347410","poster_credits":"(c)image: Edo Kuipers","translations":[{"locale":"en","description":"Jimmie Durham finds objects and materials and uses them to makes associations, transforming them into something else. The artist’s gesture, like [Duchamp’s signature on the urinal](http://www.tate.org.uk/art/images/work/T/T07/T07573_10.jpg) (often mentioned by the Durham in his [texts](http://ensembles.mhka.be/ensembles/writing)), converts these found elements - here a piece of stone whose shape could resemble a camel’s head - into artworks. It is a “kind of human craziness”, describes Durham, ”the phenomenon of things reminding us of, or looking like, other things.”[full text [here](http://ensembles.mhka.be/items/3212)]"},{"locale":"nl","description":"Jimmie Durham vindt voorwerpen en materialen en gebruikt ze om verbanden te leggen, ze in iets anders te transformeren. Het gebaar van de kunstenaar, net als [Duchamps handtekening op het urinoir](http://www.tate.org.uk/art/images/work/T/T07/T07573_10.jpg) (vaak vermeld in Durhams [teksten](http://ensembles.mhka.be/ensembles/writing)), converteert deze gevonden elementen – hier een stuk steen waarvan de vorm misschien lijkt op de kop van een kameel – tot kunstwerken. Het is een 'soort  menselijke gekte', beschrijft Durham, 'het fenomeen van dingen die ons aan andere dingen doen denken of die lijken op andere dingen.' [Volledige tekst [hier](http://ensembles.mhka.be/items/3212)]"},{"locale":"fr","description":"Jimmie Durham trouve des objets et des matériaux et les utilise, crée des associations et les transforme en objets différents. Le geste de l'artiste, comme [la signature de Duchamp sur l'urinoir](http://www.tate.org.uk/art/images/work/T/T07/T07573_10.jpg) (souvent mentionné par Durham dans ses [textes](http://ensembles.mhka.be/ensembles/writing)), convertit ces éléments trouvés – dans ce cas précis une pierre dont la forme peut rappeler la tête d'un chameau – en œuvre d'art. Il s'agit d'une « sorte de folie humaine », explique Durham, « le phénomène de choses qui nous en rappellent d'autres, qui ressemblent à d'autres choses. » [texte intégral [ici](http://ensembles.mhka.be/items/3212)]"}]},{"id":905,"title":"Painted Self-Portrait","dimensions":"83 x 60.5 cm","date_begin":"2007-01-01","material":"Acrylic, marker, ink, colour photograph","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":23,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":2,"collection":"Collection of Christine König, Vienna","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"'Jimmie Durham - Pierres rejetées ...' , Musée d'Art Moderne de la Ville de Paris / ARC, Paris, p. 194-195.\r\nInsurance value 10.000. Permission to reproduce *always noted with courtesy of Christine Koening Galerie, Vienna. The work is framed. Should be listed as: Courtesy of Christine Koening Galerie, Vienna.\r\n(framed: 100 x 77 cm)","date_end":null,"reference":"","stream_count_app":37,"permalink":"painted-self-portrait","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/576/large/J.Durham_painted%20self%20portrait.jpg?1313763167","poster_credits":null,"translations":[{"locale":"en","description":"Jimmie Durham made his first self-portrait in 1987 ([read a story about it here](http://ensembles.mhka.be/items/834)), which was followed by a series of performative images that were produced since the artist moved to Europe. These photographs, taken by Maria Thereza Alves, show Durham playing the part of the artist whose personality unfolds into multiple identities, such as those of [other artists](http://ensembles.mhka.be/items/897), [fictive characters](http://ensembles.mhka.be/items/900) or an [stone](http://ensembles.mhka.be/items/904). "},{"locale":"nl","description":"Jimmie Durham maakte zijn eerste zelfportret in 1987 ([lees er hier een verhaal over](http://ensembles.mhka.be/items/834)), waarop een reeks performatieve beelden volgde die geproduceerd werden nadat de kunstenaar naar Europa was verhuisd. Deze foto's, genomen door Maria Thereza Alves, tonen Durham in de rol van de kunstenaar wiens persoonlijkheid zich in meerdere identiteiten ontvouwt, zoals die van [andere kunstenaars](http://ensembles.mhka.be/items/897), [fictieve personages](http://ensembles.mhka.be/items/900) of een [steen](http://ensembles.mhka.be/items/904)."},{"locale":"fr","description":"Jimmie Durham a réalisé son premier autoportrait en 1987. [Lisez ici une histoire à ce propos](http://ensembles.mhka.be/items/834). Puis il a produit une série d'images de lui lors de performances après s'être installé en Europe en 1994. C'est sa partenaire, Maria Thereza Alves, qui a pris ces photos-ci pendant des moments performatiques dans lequelles Durham jouait le rôle de l'artiste dont la personnalité se dissocie et se déploie en de multiples identités : [d'autres artistes](http://ensembles.mhka.be/items/900), des [personnages fictifs](http://ensembles.mhka.be/items/900) ou même une [pierre](http://ensembles.mhka.be/items/904)."}]},{"id":2273,"title":"Home Becomes Further Away","dimensions":"variable dimensions","date_begin":"2006-01-01","material":"cobblestones, wood, stone","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy of the artist and kurimanzutto, Mexico City","cached_tag_list":"assemblage, mixed media","publishing_process_id":1,"annotation":"Wall piece.\r\nCurrently in the artist's storage: Grossgörschenstrasse 6, 10827 Berlin, Schöneberg, Germany.\r\n","date_end":null,"reference":"","stream_count_app":25,"permalink":"home-becomes-further-away","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/990/large/home%20becomes%20further%20away_archive%20JD.jpg?1332412684","poster_credits":null,"translations":[{"locale":"en","description":"*Home Becomes Further Away* is another example of how Jimmie Durham presents his [*stones as stones*](http://ensembles.mhka.be/ensembles/251) in an art context. These stones often present an argument - though not attempting to illustrate or explain - about the way our cities are built and their relationship with nature."},{"locale":"nl","description":"*Home Becomes Further Away* is een ander voorbeeld van hoe Jimmie Durham in een kunstcontext zijn [*stones as stones*](http://ensembles.mhka.be/ensembles/251) presenteert. Met deze stenen wil hij vaak iets zeggen – zonder te proberen iets te illustreren of uit te leggen – over de manier waarop onze steden zijn gebouwd en wat hun relatie met de natuur is."},{"locale":"fr","description":"*Home Becomes Further Away* est un autre exemple de la façon dont Jimmie Durham présente son [*stones as stones*](http://ensembles.mhka.be/ensembles/251) dans un contexte artistique. Ces pierres représentent une polémique – bien qu'il ne faille y voir aucune tentative d'illustration ni d'explication – quant à la façon dont nos villes sont construites et à leur relation avec la nature."}]},{"id":3934,"title":"Report to Molly Spotted Elk and Josephine Baker","dimensions":"","date_begin":"2012-01-01","material":"","short_description":"","art_status_id":48,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"Text for the catalogue of the exhibition \"A Matter of Life and Death and Singing\", M HKA, 2012","date_end":null,"reference":"","stream_count_app":14,"permalink":"report-to-molly-spotted-elk-and-josephine-baker","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Text for the catalogue of the exhibition [*A Matter of Life and Death and Singing*](http://ensembles.mhka.be/events/jimmie-durham-a-matter-of-life-and-death-and-singing), M HKA, 2012"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":3938,"title":"Note on Glass","dimensions":"","date_begin":"1995-01-01","material":"paper, marker","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"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":8,"permalink":"note-on-glass","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/379/large/JD_note%20on%20glass_1995.jpg?1331219579","poster_credits":"(c) Jimmie Durham","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2308,"title":"Barrière rouge, en perspective","dimensions":"variable dimensions","date_begin":"1996-01-01","material":"Wood, string","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":1,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"Image Rights: Frédéric Lefever (rights cleared)\r\nCurrently in the artist's storage: Grossgörschenstrasse 6, 10827 Berlin, Schöneberg, Germany.","date_end":null,"reference":"","stream_count_app":26,"permalink":"barriere-rouge-en-perspective","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/364/large/185_1996_Barriere%20rouge%20en%20perspective.jpg?1317668953","poster_credits":"(c)image: Frédéric Lefever","translations":[{"locale":"en","description":"This work was part of the exhibition [*La porte de l'Europe (les bourgeois de Calais)*](http://ensembles.mhka.be/events/la-porte-de-l-europe-les-bourgeois-de-calais) in 1996. Calais is a city with a history of a flourishing lace industry – which then moved to Korea and other Asian countries. In some way or other, the works in the exhibition refer to this lost industry. *Barrière rouge*  consists of found material: Durham took the base of a red coat hanger and attached a red cotton thread to it; the thread becomes thinner and thinner."},{"locale":"nl","description":"Dit werk maakte deel uit van de tentoonstelling [*La porte de l'Europe (les bourgeois de Calais)*](http://ensembles.mhka.be/events/la-porte-de-l-europe-les-bourgeois-de-calais) in 1996. Calais is een stad waar in het verleden de kantindustrie bloeide en de werken in de tentoonstelling verwijzen op een of andere manier naar deze verloren gegane industrie. *Barrière rouge* bestaat uit gevonden materiaal; Durham nam de voet van een rode kapstok en bevestigd er een rode katoendraad aan, die steeds dunner wordt. "},{"locale":"fr","description":"Cette œuvre faisait partie de l’exposition [*La porte de l'Europe (les bourgeois de Calais)*](http://ensembles.mhka.be/events/la-porte-de-l-europe-les-bourgeois-de-calais) en 1996. Autrefois, l’industrie de la dentelle était florissante à Calais. Ensuite, la production a été délocalisée en Corée et dans d’autres pays asiatiques. Les œuvres de l’exposition font de l’une ou l’autre manière référence à cette industrie aujourd’hui disparue. *Barrière rouge* se compose exclusivement de matériels trouvés; Durham a pris le pied d’un portemanteau rouge et y a fixé un fil de coton rouge qui devient toujours plus fin."}]},{"id":4620,"title":"Stones Rejected by the Builder","dimensions":"","date_begin":"2004-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"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":8,"permalink":"stones-rejected-by-the-builder","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *Jimmie Durham*. Milan/Como: Edizione Charta \u0026 Fondazione Antonio Ratti"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":2368,"title":"13, Rue Fenelon","dimensions":"00:30:00","date_begin":"1995-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":2,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"// 13, Rue Fenelon, 1996?\r\nIn the work 13 rue Fénelon Jimmie Durham reactivates his political activist past by filming this improbable scene with a stone which could serve to illustrate the old French saying “donner un coup d'épee dans l'eau”*. * “Strike water with a sword”, i.e. waste time, perform a useless action. ","date_end":null,"reference":"","stream_count_app":30,"permalink":"13-rue-fenelon","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/744/large/Sequence%207.jpg?1323339705","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"The brief action in this video consists of a single moment when a stone, thrown from the inside out, breaks through a window. It can be seen as an architectural gesture as well as a act of uproar and political activism. "},{"locale":"nl","description":"De korte actie in deze video bestaat uit een enkel moment waarop een steen, van binnen naar buiten gegooid, door een raam breekt. Het kan worden gezien als een architectonisch gebaar en ook als een daad van oproer en politiek activisme."},{"locale":"fr","description":"La brève action dans cette vidéo consiste en un seul moment pendant lequel une pierre, jetée de l'intérieur vers l'extérieur, à travers une fenêtre. On peut le voir comme un geste architectural, ainsi qu'un acte de rébellion et de militantisme politique."}]},{"id":4547,"title":"Raccoon (Skunk)","dimensions":"170 x 62 x 52","date_begin":"1989-01-01","material":"Mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private Collection, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"Currently in the possession of R. de Baere. Insurance value: 30.000 euros. Owner has agreed to having the work photographed for catalogue, press, TV and educational use. Should be listed as belonging to a private collection, Antwerp","date_end":null,"reference":"","stream_count_app":16,"permalink":"raccoon-skunk","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/481/large/DSC_0569.jpg?1337780374","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4639,"title":"Two Legs of Wood","dimensions":"70 x 22 x 22 cm","date_begin":"1988-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Andrea and Johannes Teiser, Germany","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"two-legs-of-wood","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/474/large/DSC_0543.jpg?1337777726","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":1164,"title":"Garçon, Garou, Gargouille","dimensions":"150 x 400 cm","date_begin":"1994-01-01","material":"papier maché, pvc pipe, leather","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":1,"collection":"Collection FRAC Pays de la Loire, Carquefou","cached_tag_list":"","publishing_process_id":1,"annotation":"Wall piece.\r\nCurrently in the possession of FRAC Pays de la Loire, Carquefou, France.","date_end":null,"reference":"","stream_count_app":29,"permalink":"garcon-garou-gargouille","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/092/large/002-M.jpg?1316161629","poster_credits":"(c)image: Philippe De Gobert","translations":[{"locale":"en","description":"The face of a boy in papier-mâché comes out of a PVC tube. The title of the artwork seems to justify its elements, creating a series of associations: the *garçon* (boy); the *garou* (werewolf, an intermediary being capable of transforming itself); and finally the *gargouille* (gargoyle), an architectural element designed to drain rainwater running down from the side of a building, usually seen in cathedrals in the form of scary creatures. \r\n\r\nThis piece was first made for the show [*Architexture*](http://ensembles.mhka.be/events/architexture), where Jimmie Durham developed a commentary on [European architecture, tradition and beliefs](http://ensembles.mhka.be/ensembles/130), inaugurating his [Eurasia](http://ensembles.mhka.be/ensembles/131) project."},{"locale":"nl","description":"Het gezicht van een jongen in papier-maché komt uit een pvc-buis. De titel van het kunstwerk lijkt zijn elementen te rechtvaardigen, en roept een reeks aan associaties op: de *garçon* (jongen); de *garou* (weerwolf, een tussenwezen in staat om zichzelf te transformeren); en uiteindelijk de *gargouille* (waterspuwer), een architecturaal element ontworpen om regenwater af te voeren langs de zijkant van een gebouw, gewoonlijk te zien bij kathedralen in de vorm van akelige creaturen. \r\n\r\nDit werk was eerst gemaakt voor de tentoonstelling [*Architexture*](http://ensembles.mhka.be/events/architexture), waar Jimmie Durham commentaar gaf op [Europese architectuur, traditie en geloof](http://ensembles.mhka.be/ensembles/130), en dat zijn [Eurasia](http://ensembles.mhka.be/ensembles/131)-project inwijdde. "},{"locale":"fr","description":"Le visage d'un garçon en papier mâché sort d'un tuyau en PVC. Le titre de l'œuvre d'art paraît justifier ses éléments, créant une série d'associations : le garçon, le garou (une créature intermédiaire, capable de se transformer), et la gargouille (un élément architectural conçu pour permettre à l'eau de pluie de s'écouler à distance des murs d'un édifice et que l'on trouve en général sur les cathédrales sous la forme de créatures effrayantes).\r\n\r\nLa pièce a été réalisée pour la première fois pour l'exposition [*Architexture*](http://ensembles.mhka.be/events/architexture), dans laquelle Jimmie Durham a commenté [l'architecture européenne, la tradition et les religions](http://ensembles.mhka.be/ensembles/130), inaugurant son projet [Eurasia](http://ensembles.mhka.be/ensembles/131)."}]},{"id":2196,"title":"A Piece of Concrete Wearing a Stone Mask and a Necktie","dimensions":"93 x 34 x 18 cm","date_begin":"1999-01-01","material":"Mixed media","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":"Private Collection, Amsterdam","cached_tag_list":"mixed media","publishing_process_id":1,"annotation":"origin: Galerie Lumen Travo, Amsterdam\r\nCollection Dhr. C. de Boer, The Netherlands.\r\nWall piece.\r\nInsurance value: 30.000 euros. Owner has agreed to having the work photographed for catalogue, TV, press and educational purposes. Should be listed as belonging a private collection, Amsterdam. Work is crated: 107 x 51 x 29 cm. \r\nNeeds to be in a crate of 107 x 51 x 29 cm.\r\nCurrently in the possession of Cees de Boer, Amsterdam, The Netherlands. ","date_end":null,"reference":"","stream_count_app":30,"permalink":"a-piece-of-concrete-wearing-a-stone-mask-and-a-necktie","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/003/large/156-m.jpg?1316180678","poster_credits":"(c)image: Gert Jan van Rooij","translations":[{"locale":"en","description":"A piece of concrete, standing behind a colourful mask and wearing a flower-printed necktie, remains a piece of concrete. Jimmie Durham plays here with the incongruity of a piece of anonymous material made into a subject with personality by adding to it “human” props but always reminding us, through the use of language, of what we are really looking at."},{"locale":"nl","description":"Een stuk beton dat achter een kleurrijk masker staat en een das met bloemenmotief draagt, blijft een stuk beton. Jimmie Durham speelt hier met de ongerijmdheid van een stuk anoniem materiaal dat hij tot een subject met persoonlijkheid maakt door er “menselijke” rekwisieten aan toe te voegen. Maar we worden er altijd aan herinnerd, door het gebruik van taal, waar we echt naar kijken."},{"locale":"fr","description":"Une pièce en béton placée derrière un masque bigarré portant une cravate à motif floral demeure une pièce de béton. Jimmie Durham joue ici avec l'incongruité d'une pièce réalisée dans un matériau anonyme, transformée par l'adjonction d'accessoires « humains » en sujet avec une personnalité. Cependant, par le biais du langage, l'œuvre nous rappelle à tout moment ce que nous contemplons réellement."}]},{"id":4863,"title":"Europe","dimensions":"","date_begin":"1994-01-01","material":"digital photographs","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":25,"stream_count":0,"collection":"Courtesy of the artist and Christine König Galerie, Vienna","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2011-01-01","reference":"","stream_count_app":95,"permalink":"europe","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/638/large/jimmie-metro.jpeg?1334662026","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"Jimmie Durham's *Europe* series is an ongoing project started in 1994 - the year Durham settled permanently in Europe, having lived since then in several European cities such as Brussels, Berlin, Marseille and Rome."},{"locale":"nl","description":"Jimmie Durhams *Europe* serie is een lopend project dat begon in 1994, het jaar dat Durham zich permanent vestigde in Europa. Sindsdien heeft hij in verschillende Europese steden gewoond, zoals Brussel, Berlijn, Marseille en Rome. "},{"locale":"fr","description":"La série photographique intitulée *Europe* est un projet continu de Jimmie Durham, entamé en 1994, l’année où l’artiste s’est installé définitivement en Europe. Depuis, il a vécu dans plusieurs villes européennes : Bruxelles, Marseille, Rome, Berlin, Naples."}]},{"id":4879,"title":"Drawing performance","dimensions":"","date_begin":"1996-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":13,"permalink":"drawing-performance","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/812/large/frac-3.jpg?1334834554","poster_credits":"image: (c) André Morin","translations":[{"locale":"en","description":"Drawing performance at *La leçon d'anatomie (A Progress Report)*"},{"locale":"nl","description":"Tekenperformance in het kader van de tentoonstelling *La leçon d'anatomie (A Progress Report)*"},{"locale":"fr","description":""}]},{"id":4880,"title":"Stoneheart","dimensions":"","date_begin":"2001-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":128,"platform_id":1,"deleted":false,"asset_count":12,"stream_count":1,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":31,"permalink":"stoneheart","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/824/large/kitakyushu-2.jpeg?1334835557","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"Drawing performance in the context of Jimmie Durham's teaching residence and exhibition at CCA Kitakyushu Project Gallery in Japan."},{"locale":"nl","description":"Tekenperformance in het kader van Jimmie Durhams doceerverblijf en tentoonstelling in de CCA Kitakyushu Project Gallery in Japan."},{"locale":"fr","description":""}]},{"id":2788,"title":"Maquette for a Museum of Switzerland","dimensions":"","date_begin":"2011-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":58,"platform_id":1,"deleted":false,"asset_count":35,"stream_count":0,"collection":"Collection of Migros Museum, Zurich","cached_tag_list":"","publishing_process_id":1,"annotation":"Image Rights: JLH, also Opdahl and Serge Hasenboehler. Sold to Migros Museum für gegenwartskunst, Zürich in 2011. Presented at Bétonsalon - Centre d'art et de recherche for the group show \"Une legende en cache une autre\" (One caption hides another), 15/11/2011 - 28/1/2012 and at Swiss Institute New York, (Jimmie Durham - Maquette for a Museum of Switzerland), 7/3/2012 - 15/4/2012","date_end":null,"reference":"","stream_count_app":113,"permalink":"maquette-for-a-museum-of-switzerland","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/004/399/large/L1020396.JPG?1323160989","poster_credits":"(c) image: Jessica Horton","translations":[{"locale":"en","description":"Installation at Art | 42 | Basel 2011, presented by Galerie Opdahl. It includes 35 c-prints on forex, 2 vitrines containing various objects and texts by Jimmie Durham as well as 2 masks by the artist."},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4882,"title":"The Center of the World at Middelburg","dimensions":"variable dimensions","date_begin":"1995-01-01","material":"mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003esee event \u0026quot;The Center of the World at Middelburg\u0026quot;\u003c/p\u003e\r\n","date_end":null,"reference":"VH0173","stream_count_app":23,"permalink":"the-center-of-the-world-at-middelburg","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":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/830/large/029_1995_Fotobox_25.jpeg?1334841993","poster_credits":"image: (c) Maria Thereza Alves","translations":[{"locale":"en","description":"\u003cp\u003eInstallation at De Vleeshal, Middelburg, The Netherlands\u003c/p\u003e\r\n"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4966,"title":"Untitled (Zipper)","dimensions":"142 x 11 cm","date_begin":"1993-01-01","material":"mixed media","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 of Stella Lohaus, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":9,"permalink":"untitled-zipper","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/498/large/DSC_0530-detail.jpg?1337784366","poster_credits":"(c) image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":4976,"title":"Não sei se posso desejar-lhe...","dimensions":"113 x 12 x 14 cm","date_begin":"1995-01-01","material":"wood, ceramic","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection of Mario Teixeira da Silva, Portugal","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"nao-sei-se-posso-desejar-lhe","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/489/large/DSC_0575.jpg?1337781091","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":"This work belonged to an installation at Galeria Módulo in Lisbon in 1995 where all pieces had an attached quote from the book *The Year of the Death of Ricardo Reis* by José Saramago. Find out more about it [here](http://ensembles.mhka.be/events/52)."},{"locale":"nl","description":"Dit werk hoorde bij een installatie die in 1995 getoond werd in Galeria Módulo in Lissabon, waarbij aan alle werken een citaat bevestigd was uit het boek *Het jaar van de dood van Ricardo Reis* van de Portugese schrijver José Saramago. Meer informatie daarover [hier](http://ensembles.mhka.be/events/52)."},{"locale":"fr","description":"Cette œuvre appartient à l'installation à la Galeria Módulo à Lisbonne en 1995, où une citation de livre *L'année de la mort de Ricardo Reis* de José Saramago était attachée à chaque œuvre.\r\nDécouvrez plus à propos de cette exposition en cliquant [ici](http://ensembles.mhka.be/events/52)."}]},{"id":4977,"title":"Parecem dramáticos...","dimensions":"28 x 23 x 34 cm","date_begin":"1995-01-01","material":"wood, paper, iron","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":"Collection of the artist and Módulo - Centro Difusor de Arte, Lisbon","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"parecem-dramaticos","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/486/large/DSC_0574.jpg?1337780936","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":"This work belonged to an installation at Galeria Módulo in Lisbon in 1995 where all pieces had an attached quote from the book *The Year of the Death of Ricardo Reis* by José Saramago. Find out more about it [here](http://ensembles.mhka.be/events/52)."},{"locale":"nl","description":"Dit werk hoorde bij een installatie die in 1995 getoond werd in Galeria Módulo in Lissabon, waarbij aan alle werken een citaat bevestigd was uit het boek *Het jaar van de dood van Ricardo Reis* van de Portugese schrijver José Saramago. Meer informatie daarover [hier](http://ensembles.mhka.be/events/52)."},{"locale":"fr","description":"Cette œuvre appartient à l'installation à la Galeria Módulo à Lisbonne en 1995, où une citation de livre *L'année de la mort de Ricardo Reis* de José Saramago était attachée à chaque œuvre.\r\nDécouvrez plus à propos de cette exposition en cliquant [ici](http://ensembles.mhka.be/events/52)."}]},{"id":4990,"title":"Jimmie Durham: The Bishop's Moose and the Pinkerton Men","dimensions":"28 x 21,5 cm, 36 p","date_begin":"1990-01-01","material":"","short_description":"Exhibition catalogue","art_status_id":13,"legal_status_id":47,"category_id":26,"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":17,"permalink":"jimmie-durham-the-bishop-s-moose-and-the-pinkerton-men","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/124/large/ninaserebrenick_20120507_164221_001.jpg?1336401959","poster_credits":null,"translations":[{"locale":"en","description":"Catalogue for the exhibition [Jimmie Durham - The Bishop's Moose and the Pinkerton Men](http://ensembles.mhka.be/events/57). With texts of Papo Colo, Luis Camnitzer, Jean Fisher, Lucy R. Lippard and Jeanette Ingberman. Published by EXIT ART, New York.\r\n\r\nAvailable for consultation at [M HKA_library](http://www.muhka.be/verzamelt_beeldbib.php?la=en)"},{"locale":"nl","description":"Catalogus van de tentoonstelling [Jimmie Durham - The Bishop's Moose and the Pinkerton Men](http://ensembles.mhka.be/events/57). Met tekst van Papo Colo, Luis Camnitzer, Jean Fisher, Lucy R. Lippard and Jeanette Ingberman. Uitgegeven door EXIT ART, New York.\r\n\r\nTe raadplegen in de [M HKA_bibliotheek](http://www.muhka.be/verzamelt_beeldbib.php?la=nl)"},{"locale":"fr","description":""}]},{"id":825,"title":"Jimmie Durham","dimensions":"29 cm x 25 cm","date_begin":"1998-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"ISBN 0-7148-3348-7, Phaidon Press Limited, London, 160 p., ill.,\r\nEnglish, (Series : Contemporary Artists)","date_end":null,"reference":"","stream_count_app":13,"permalink":"jimmie-durham","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/717/large/jimmie_durham.jpg?1308822712","poster_credits":null,"translations":[{"locale":"en","description":"This book covers Jimmie Durham's oeuvre extensively until 1995.\r\n\r\nAvailable for consultation at [M HKA_library](http://www.muhka.be/verzamelt_beeldbib.php?la=en)"},{"locale":"nl","description":"Dit boek geeft een uitgebreide overzicht van Jimmie Durhams oeuvre tot 1995.\r\n\r\nTe raadplegen in de [M HKA_bibliotheek](http://www.muhka.be/verzamelt_beeldbib.php?la=nl)"},{"locale":"fr","description":""}]},{"id":824,"title":"Jimmie Durham","dimensions":"20,9 cm x 14,6 cm, 158 p","date_begin":"2004-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"ISBN 88-8158-492-1, Edizioni Charta/Fondazione Antonio Ratti, Milano/Como, 158 p., ill.,\r\nItalian, English","date_end":null,"reference":"","stream_count_app":12,"permalink":"jimmie-durham--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/222/large/ninaserebrenick_20120510_142858_001.jpg?1336653290","poster_credits":null,"translations":[{"locale":"en","description":"Book published by Edizioni Charta/Fondazione Antonio Ratti in the occasion of Jimmie Durham's teaching residency at [Fondazione Antonio Ratti](http://www.fondazioneratti.org/page/27/advanced-course-in-visual-arts) in Como, Italy, in 2004.\r\n\r\nAvailable for consultation at [M HKA_library](http://www.muhka.be/verzamelt_beeldbib.php?la=en)"},{"locale":"nl","description":"Uitgegeven door Edizioni Charta/Fondazione Antonio Ratti in het kader van Durhams doceerverblijf in [Fondazione Antonio Ratti](http://www.fondazioneratti.org/page/27/advanced-course-in-visual-arts) in Como, Italië, in 2004.\r\n\r\nTe raadplegen in de [M HKA_bibliotheek](http://www.muhka.be/verzamelt_beeldbib.php?la=nl)"},{"locale":"fr","description":""}]},{"id":4975,"title":"Foi coincidência","dimensions":"20 x 49 x 43 cm","date_begin":"1995-01-01","material":"wood, stone, mirror, iron, grafite, photography, text","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":"Collection of Mario Teixeira da Silva, Portugal","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":12,"permalink":"foi-coincidencia","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/492/large/DSC_0577.jpg?1337781487","poster_credits":"(c)image: M HKA ","translations":[{"locale":"en","description":"This work belonged to an installation at Galeria Módulo in Lisbon in 1995 where all pieces had an attached quote from the book *The Year of the Death of Ricardo Reis* by José Saramago. Find out more about it [here](http://ensembles.mhka.be/events/52)."},{"locale":"nl","description":"Dit werk hoorde bij een installatie die in 1995 getoond werd in Galeria Módulo in Lissabon, waarbij aan alle werken een citaat bevestigd was uit het boek *Het jaar van de dood van Ricardo Reis* van de Portugese schrijver José Saramago. Meer informatie daarover [hier](http://ensembles.mhka.be/events/52)."},{"locale":"fr","description":"Cette œuvre appartient à l'installation à la Galeria Módulo à Lisbonne en 1995, où une citation de livre *L'année de la mort de Ricardo Reis* de José Saramago était attachée à chaque œuvre.\r\nDécouvrez plus à propos de cette exposition en cliquant [ici](http://ensembles.mhka.be/events/52)."}]},{"id":5011,"title":"Elements from La Porte de l'Europe (les bourgeois de Calais)","dimensions":"","date_begin":"1996-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Courtesy of the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":27,"permalink":"elements-from-la-porte-de-l-europe-les-bourgeois-de-calais","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/493/large/DSC_0596.jpg?1337782874","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5082,"title":"A Project to Create Sympathy in the Home","dimensions":"","date_begin":"1998-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"a-project-to-create-sympathy-in-the-home","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *Do It*. Hans-Ulrich Obrist (ed.). New York: Independent Curators Inc."},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5067,"title":"Untitled","dimensions":"","date_begin":"1994-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":7,"permalink":"untitled--51","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Essay written for *Économies*. Marseille, no1, July 9, pp. 16-17 (in French)"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5069,"title":"Eurasian Project, Stage One","dimensions":"","date_begin":"1996-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"eurasian-project-stage-one","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Text published in the book [*Jimmie Durham - Eurasian Project, Stage One*](http://ensembles.mhka.be/items/844) in the occasion of the exhibitions [*La porte de l'Europe (les bourgeois de Calais)*](http://ensembles.mhka.be/events/la-porte-de-l-europe-les-bourgeois-de-calais) and [*La leçon d'anatomie (A Progress Report)*](http://ensembles.mhka.be/events/la-lecon-d-anatomie-a-progress-report)."},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5083,"title":"Pursuit of Happiness","dimensions":"","date_begin":"2002-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"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":4,"permalink":"pursuit-of-happiness","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5084,"title":"A Thousand Beautiful Things","dimensions":"","date_begin":"2004-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"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":5,"permalink":"a-thousand-beautiful-things","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Nikos Papastergiadis interviews Jimmie Durham."},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5085,"title":"Boycott the São Paulo Biennale","dimensions":"","date_begin":"2006-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":25,"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":5,"permalink":"boycott-the-sao-paulo-biennale","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,"poster_image":null,"poster_credits":null,"translations":[{"locale":"en","description":"Published in *Art Monthly*, March 2006, No 294, p.38"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5087,"title":"Não adianta...","dimensions":"","date_begin":"1995-01-01","material":"","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":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":8,"permalink":"nao-adianta","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/491/large/DSC_0576.jpg?1337781368","poster_credits":"(c)image:  M HKA","translations":[{"locale":"en","description":"This work belonged to an installation at Galeria Módulo in Lisbon in 1995 where all pieces had an attached quote from the book *The Year of the Death of Ricardo Reis* by José Saramago. Find out more about it [here](http://ensembles.mhka.be/events/52)."},{"locale":"nl","description":"Dit werk hoorde bij een installatie die in 1995 getoond werd in Galeria Módulo in Lissabon, waarbij aan alle werken een citaat bevestigd was uit het boek *Het jaar van de dood van Ricardo Reis* van de Portugese schrijver José Saramago. Meer informatie daarover [hier](http://ensembles.mhka.be/events/52)."},{"locale":"fr","description":"Cette œuvre appartient à l'installation à la Galeria Módulo à Lisbonne en 1995, où une citation de livre *L'année de la mort de Ricardo Reis* de José Saramago était attachée à chaque œuvre.\r\nDécouvrez plus à propos de cette exposition en cliquant [ici](http://ensembles.mhka.be/events/52)."}]},{"id":5088,"title":"Untitled","dimensions":"","date_begin":"1970-01-01","material":"wood, metal, fur","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":79,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2012-01-01","reference":"","stream_count_app":8,"permalink":"untitled--59","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/497/large/DSC_0603.jpg?1337784043","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":5071,"title":"100 Notes - 100 Thoughts / 100 Notizen - 100 Gedanken (Booklet N° 049 dOCUMENTA 13) : Jimmie Durham - Material","dimensions":"21 cm x 14,7 cm, 22 p","date_begin":"2012-01-01","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":"Artist publication ; Artist book ; Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2024/645","stream_count_app":15,"permalink":"100-notes-100-thoughts-100-notizen-100-gedanken-booklet-n-049-documenta-13-jimmie-durham-material","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/385/large/DSC_5359.jpg?1366189479","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"Uitgever/Publisher : documenta \u0026 Museum Fridericianum/Hatje Cantz, Kassel/Ostfildern (Duitsland).\r\nTeksten/Texts : Engels, Duits.\r\nISBN : 9783775728980.\r\n\r\n\"We live in a world of our own construction...., and I want to look at that strangeness in the framework of the material\", the artist Jimmie Durham says. Taking the form of notes from a series of lectures given in Venice, Durham explores our relationship to the world through materials, whether they are concrete substance such as wood, oak, petroleum, or plastics, or abstract, theoretical matters such as math, prime numbers, or computing. His notebook breathes life into the notion that \"our knowledge of the world comes from the way we are constructed. We construct the world as we are constructed\". By using wood and petroleum as his focal points, he leads us through the history of the construction of Venice, to a sculpture and its built-in mistake, and finally to how the tissue in fish is filled with so much plastic that a scientist friend no longer eats the animals."},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":544,"title":"Jesus. Es geht um die Wurst [Jesus. It's about the Sausage]","dimensions":"152 x 40 x 113 cm","date_begin":"1992-01-01","material":"Wood, iron, steel, ink, paper, acrylic, mud, glue","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":11,"stream_count":1,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e\u0026#39;Jimmie Durham - Pierres rejet\u0026eacute;es ...\u0026#39; , Mus\u0026eacute;e d\u0026#39;Art Moderne de la Ville de Paris / ARC, Paris, p. 70-71. Currently in the possession of the M HKA.\u003c/p\u003e\r\n","date_end":"1992-01-01","reference":"BK006156","stream_count_app":131,"permalink":"jesus-es-geht-um-die-wurst-jesus-it-s-about-the-sausage","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/000/008/116/medium_500/Durham_07.jpg?1332834759","cached_actor_names":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/216/large/Durham,%20Jimmie,%20Es%20geht%20um%20die%20wurst,%201992%20collection%20M%20HKA.jpg?1304687153","poster_credits":"(c)image: Syb'l. S. - Pictures ","translations":[{"locale":"en","description":"\u003cp\u003eA sculpture of a human figure, sitting on a stretcher, is partly covered with a crust of manure, mud and blood. His face has a joyful expression which gets disturbed by his metal eye. At the moment that we might assume that this figure is dead, he springs to life: we see his bright red penis (as if just circumcised; Es geht um die Wurst! - literally: it\u0026rsquo;s about the sausage!, or still: it\u0026rsquo;s about the essence!) and he shows us a photo of a mummified dog. This artwork is part of the installation that Durham made especially for \u003ca href=\"http://ensembles.mhka.be/events/67\"\u003eDocumenta IX\u003c/a\u003e.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEen mensbeeld van hout zit op een draagbaar en dit geheel wordt gedragen door zo\u0026rsquo;n beeldhouwerstandaard die we ook als sokkel kunnen zien. De figuur is gedeeltelijk bedekt met een broze korst van mest, modder en bloed. Het gelaat heeft een gelukzalige uitdrukking die wat wordt verstoord door \u0026eacute;\u0026eacute;n oog dat van metaal is. Op het moment dat we geloven dat hij een dode zou kunnen zijn, wordt hij levend: we zien zijn helrood geschilderde penis (alsof hij pas besneden is; Es geht um die Wurst! (letterlijk: het gaat om de worst; maar ook: het gaat om de essentie)) en hij laat ons een foto van een gemummificeerde hond zien. Het werk is een deel van de installatie die Durham speciaal voor \u003ca href=\"http://ensembles.mhka.be/events/67\"\u003eDocumenta IX\u003c/a\u003e maakte.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eUne sculpture repr\u0026eacute;sentant un humain assis sur un brancard. L\u0026#39;ensemble est port\u0026eacute; par un support de sculpture que l\u0026#39;on pourrait consid\u0026eacute;rer comme un socle. Le visage est partiellement recouvert d\u0026#39;une cro\u0026ucirc;te compos\u0026eacute;e d\u0026#39;engrais, de boue et de sang. L\u0026agrave; o\u0026ugrave; il n\u0026#39;y a pas de pied, on voit d\u0026eacute;passer une petite partie de la structure de la jambe, comme si l\u0026#39;on voyait le squelette. Le visage exprime la b\u0026eacute;atitude, mais celle-ci est l\u0026eacute;g\u0026egrave;rement troubl\u0026eacute;e par l\u0026#39;\u0026oelig;il m\u0026eacute;tallique. Au moment o\u0026ugrave; l\u0026#39;on croit que le personnage pourrait \u0026ecirc;tre un d\u0026eacute;funt, il devient soudain vivant\u0026nbsp;: on aper\u0026ccedil;oit son p\u0026eacute;nis rouge \u0026eacute;carlate (comme s\u0026#39;il venait d\u0026#39;\u0026ecirc;tre circoncis\u0026nbsp;; Es geht um die Wurst! \u0026ndash; litt\u0026eacute;ralement\u0026nbsp;: il s\u0026#39;agit de la saucisse, mais aussi, il s\u0026#39;agit de l\u0026#39;essentiel) et il nous montre une photo d\u0026#39;un chien momifi\u0026eacute;. Cette \u0026oelig;uvre est un \u0026eacute;l\u0026eacute;ment de l\u0026#39;installation que Durham a r\u0026eacute;alis\u0026eacute;e pour la [Documenta IX](http://ensembles.mhka.be/events/67), en 1992.\u003c/p\u003e\r\n"}]},{"id":5033,"title":"Inadequate Response","dimensions":"20 cm x 15,7 cm, 80 p.","date_begin":"2007-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Artist publication ; Artist book ; Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2003/553","stream_count_app":29,"permalink":"inadequate-response--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/316/large/ninaserebrenick_20120515_093557_001.jpg?1337069829","poster_credits":null,"translations":[{"locale":"en","description":"Auteurs/Authors : Évelyne Loux \u0026 Katia Baudin-Reneau.\r\nUitgever/Publisher : CEAAC - Centre européen d'actions artistiques contemporaines/École supérieure des arts décoratifs de Strasbourg, Strasbourg (Frankrijk).\r\nTeksten/Texts : Engels, Frans.\r\nISBN 2-910036-39"},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":546,"title":"Untitled","dimensions":"150 x 70 x 70 cm","date_begin":"1991-01-01","material":"wood, canvas, paint, shells","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":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1991-01-01","reference":"BK006913-002","stream_count_app":43,"permalink":"untitled--41","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":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/215/large/Durham%20,%20Jimmie,%20untitled%201991.jpg?1304686173","poster_credits":"(c)image: Syb'l. S. - Pictures","translations":[{"locale":"en","description":"\u003cp\u003eThe combination of different elements , each with its specific connotation, forms one body with its base on a painter\u0026rsquo;s easel: a bust carved in wood (a self-portrait? a Jesus figure?), the easel, pieces of wood, and a painting of a Volkswagen. The unconventional way in which Jimmie Durham combines and juxtaposes them, mixing different categories of symbols and codes, creates new meaning.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEen schildersezel staat stevig op de grond omdat de basis ervan een sterke houten constructie is. Dit beeld heeft zo\u0026rsquo;n stevige houten ezelconstructie en van daar uit staan verschillende stukken hout verticaal omhoog de ruimte in. Het lijken gevonden materialen, maar ze vertellen ons veel: stukken hout die industrieel (rechthoekig) gezaagd zijn en daartussen een tak die verwijst naar de oorsprong van al dat hout. Daarbovenop een kleine buste vakkundig uit hout gesneden (een zelfportret van de kunstenaar? een Christusfiguur?). Ter hoogte van de heup is er een stuk canvas met een afbeelding van een volkswagen. Durham gebruikt al deze elementen, maar niet op een conventionele wijze. Door het vrije gebruik van materialen en codes, kan hij categorie\u0026euml;n van tekens en betekenissen in elkaar laten overvloeien en zo nieuwe betekenissen cre\u0026euml;ren.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":851,"title":"Jimmie Durham - Poesiealbum 209","dimensions":"21.5 x 12.5 cm, 31 p., language : German, author : Jimmie Durham, publisher : Verlag Neues Leben, Berlin","date_begin":"1985-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"Artist publication ; Artist book","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2023/200","stream_count_app":15,"permalink":"jimmie-durham-poesiealbum-209","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/384/large/poesie_album.jpg?1337178959","poster_credits":null,"translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":849,"title":"Jimmie Durham - Over Contact / On Contact (Nieuwjaarsboekje 2009)","dimensions":"13.1 x 10 cm, 48 p., language : Dutch, English, publisher : Museum van Hedendaagse Kunst, Antwerpen, ISBN : 9789072828002","date_begin":"2009-01-01","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":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2007/504","stream_count_app":21,"permalink":"on-contact-over-contact--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/002/841/large/NYboekje-EN%201%20%282%29.jpg?1314709789","poster_credits":"(c)M HKA","translations":[{"locale":"en","description":"\u003cp\u003eEssay by Jimmie Durham published as New Year\u0026#39;s book by M HKA in 2009.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEssay by Jimmie Durham published as New Year\u0026#39;s book by M HKA in 2009.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEssay by Jimmie Durham published as New Year\u0026#39;s book by M HKA in 2009.\u003c/p\u003e\r\n"}]},{"id":13813,"title":"Jimmie Durham 'Waiting To Be Interrupted' - Selected Writings 1993-2012","dimensions":"20.9 x 14.6 cm, 368 p., language : English, publisher : Mousse Publishing, Milano \u0026 Museum van Hedendaagse Kunst, Antwerpen, ISBN : 9788867491209","date_begin":"2014-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2026/524","stream_count_app":8,"permalink":"jimmie-durham-waiting-to-be-interrupted-selected-writings-1993-2012","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,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/031/329/large/__Photo_M_HKA__107.jpg?1458560798","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eEdited \u0026amp; Foreword\u0026nbsp;: Jean Fisher.\u003c/p\u003e\r\n\r\n\u003cp\u003ePreface : Anders Kreuger (Curator M HKA).\u003c/p\u003e\r\n\r\n\u003cp\u003eJimmie Durham, artist, poet and political activist, has been one of the most influential figures of recent decades. This volume of writings comprise a selection of essays and conferences on art and society, critical reflections on \u0026#39;Eurasia\u0026#39;, the history of US-American Indian relations, and observations on the city and nature. A recurrent theme is his interrogation of the ideological complicity between monumental architecture and scripture - \u0026#39;architexture\u0026#39; - as the foundation of Eurocentric belief and tool of others\u0026#39; disenfranchisement.\u003c/p\u003e\r\n\r\n\u003cp\u003eHere, words, lik the stones and motley materials he gathers for his assemblages, are remobilised otherwise ; they become agents for \u0026#39;interrupting\u0026#39; received ideas through writings that both disturb and delight, but never cease to provoke questions about the forces that shape our world. Jimmie Durham\u0026#39;s is a rare and liberating voice in the architextural wilderness of contemporary life.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eAvailable in the M HKA-bookshop.\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEdited \u0026amp; Foreword\u0026nbsp;: Jean Fisher.\u003c/p\u003e\r\n\r\n\u003cp\u003ePreface : Anders Kreuger (Curator M HKA).\u003c/p\u003e\r\n\r\n\u003cp\u003eJimmie Durham, artist, poet and political activist, has been one of the most influential figures of recent decades. This volume of writings comprise a selection of essays and conferences on art and society, critical reflections on \u0026#39;Eurasia\u0026#39;, the history of US-American Indian relations, and observations on the city and nature. A recurrent theme is his interrogation of the ideological complicity between monumental architecture and scripture - \u0026#39;architexture\u0026#39; - as the foundation of Eurocentric belief and tool of others\u0026#39; disenfranchisement.\u003c/p\u003e\r\n\r\n\u003cp\u003eHere, words, lik the stones and motley materials he gathers for his assemblages, are remobilised otherwise ; they become agents for \u0026#39;interrupting\u0026#39; received ideas through writings that both disturb and delight, but never cease to provoke questions about the forces that shape our world. Jimmie Durham\u0026#39;s is a rare and liberating voice in the architextural wilderness of contemporary life.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eVerkrijgbaar in de M HKA-bookshop.\u003c/strong\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEdited \u0026amp; Foreword\u0026nbsp;: Jean Fisher.\u003c/p\u003e\r\n\r\n\u003cp\u003ePreface : Anders Kreuger (Curator M HKA).\u003c/p\u003e\r\n\r\n\u003cp\u003eJimmie Durham, artist, poet and political activist, has been one of the most influential figures of recent decades. This volume of writings comprise a selection of essays and conferences on art and society, critical reflections on \u0026#39;Eurasia\u0026#39;, the history of US-American Indian relations, and observations on the city and nature. A recurrent theme is his interrogation of the ideological complicity between monumental architecture and scripture - \u0026#39;architexture\u0026#39; - as the foundation of Eurocentric belief and tool of others\u0026#39; disenfranchisement.\u003c/p\u003e\r\n\r\n\u003cp\u003eHere, words, lik the stones and motley materials he gathers for his assemblages, are remobilised otherwise ; they become agents for \u0026#39;interrupting\u0026#39; received ideas through writings that both disturb and delight, but never cease to provoke questions about the forces that shape our world. Jimmie Durham\u0026#39;s is a rare and liberating voice in the architextural wilderness of contemporary life.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eDisponible dans le M HKA-bookshop.\u003c/strong\u003e\u003c/p\u003e\r\n"}]},{"id":5012,"title":"Jimmie Durham. A Matter of Life and Death and Singing","dimensions":"31 cm x 24 cm, 145 p., language : English, publisher : Museum van Hedendaagse Kunst Antwerpen \u0026 JRP/Ringier, Zürich, ISBN : 9783037642894","date_begin":"2012-01-01","material":"Ink, paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Collection M HKA, Antwerp ","cached_tag_list":"Exhibition catalogue","publishing_process_id":1,"annotation":"","date_end":null,"reference":"B 2024/764","stream_count_app":37,"permalink":"jimmie-durham-a-matter-of-life-and-death-and-singing","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":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/283/large/cover.jpg?1336748448","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eEditor : Anders Kreuger, Curator M HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Guy Brett, Bart De Baere (Director M HKA), Jimmie Durham, Richard William Hill \u0026amp; Anders Kreuger.\u003c/p\u003e\r\n\r\n\u003cp\u003eA book with Dutch translations of the texts was published.\u003c/p\u003e\r\n\r\n\u003cp\u003eCatalogue for the exhibition \u003ca href=\"http://http://ensembles.mhka.be/events/jimmie-durham-a-matter-of-life-and-death-and-singing\"\u003eJimmie Durham. A Matter of Life and Death and Singing\u003c/a\u003e\u0026nbsp;at M HKA, 25 May to 18 November 2012. Published by JRP Ringier. \u0026nbsp;Available for purchase in the M HKA Shop and for consultation in the M HKA Library.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eAvailable in the M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eEditor : Anders Kreuger, Curator M HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTeksten\u0026nbsp;: Guy Brett, Bart De Baere (Directeur M HKA), Jimmie Durham, Richard William Hill \u0026amp; Anders Kreuger.\u003c/p\u003e\r\n\r\n\u003cp\u003eCatalogus voor de tentoonstelling\u0026nbsp;\u003ca href=\"http://http://ensembles.mhka.be/events/jimmie-durham-a-matter-of-life-and-death-and-singing\"\u003eJimmie Durham. A Matter of Life and Death and Singing\u003c/a\u003e in het M HKA, 25 mei\u0026nbsp;tot 18 november 2012. Gepubliceerd door JRP Ringier. Verkrijgbaar in de M HKA - bookshop beschikbaar voor consultatie in de M HKA Bibliotheek.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eVerkrijgbaar in de M HKA - bookshop.\u003c/strong\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eEditor : Anders Kreuger, Curator M HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003eTexts : Guy Brett, Bart De Baere (Director M HKA), Jimmie Durham, Richard William Hill \u0026amp; Anders Kreuger.\u003c/p\u003e\r\n\r\n\u003cp\u003eA book with Dutch translations of the texts was published.\u003c/p\u003e\r\n\r\n\u003cp\u003eCatalogue for the exhibition \u003ca href=\"http://ensembles.mhka.be/events/jimmie-durham-a-matter-of-life-and-death-and-singing\"\u003eJimmie Durham. A Matter of Life and Death and Singing\u003c/a\u003e\u0026nbsp;at M HKA, 25 May to 18 November 2012. Published by JRP Ringier.\u0026nbsp;Available for purchase in the M HKA Shop and for consultation in the M HKA Library.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cb\u003eDisponible dans le M HKA - bookshop.\u003c/b\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"}]},{"id":562,"title":"Tower","dimensions":"210 x 90 x 90 cm","date_begin":"2009-01-01","material":"wood, glass","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"installation","publishing_process_id":1,"annotation":"","date_end":"2009-01-01","reference":"BK7723_M472","stream_count_app":58,"permalink":"tower","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":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/241/large/tower.jpg?1465990617","poster_credits":"© M HKA","translations":[{"locale":"en","description":"\u003cp\u003eDurham made \u003cem\u003eTower\u003c/em\u003e for the exhibition \u003ca href=\"http://ensembles.mhka.be/events/all-that-is-solid-melts-into-air\"\u003e\u003cem\u003eAll That Is Solid Melts Into Air\u003c/em\u003e\u003c/a\u003e, in the framework of \u003cem\u003eCity visions \u003c/em\u003e(Mechelen, Belgium, 2009). With some wood he found nearby, he built a tower on the roof of the Mechelen Cultural Centre, in dialogue with the monumental St. Rumbold\u0026#39;s Cathedral in Mechelen. The work matches his opposition to two major foundations of the European tradition: religion and architecture.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDurham maakte \u003cem\u003eTower\u003c/em\u003e voor de tentoonstelling \u003ca href=\"http://ensembles.mhka.be/events/all-that-is-solid-melts-into-air\"\u003e\u003cem\u003eAll That Is Solid Melts Into Air\u003c/em\u003e\u003c/a\u003e, in kader van \u003cem\u003eStadsvisioen\u003c/em\u003e (Mechelen, 2009). Op het dak van het cultureel centrum bouwde hij met hout dat hij vond in de omgeving een toren in dialoog met de monumentale Sint-Romboutstoren in Mechelen. Het werk past in zijn verzet tegen twee grote fundamenten van de Europese traditie: geloof en architectuur.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDurham a r\u0026eacute;alis\u0026eacute; cette tour pour l\u0026rsquo;exposition \u003ca href=\"http://ensembles.mhka.be/events/all-that-is-solid-melts-into-air\"\u003eAll That Is Solid Melts Into Air\u003c/a\u003e, dans le cadre de \u003cem\u003eStadsvisioen\u003c/em\u003e (Malines, 2009). Sur le toit du centre culturel, il a construit avec du bois qu\u0026rsquo;il a trouv\u0026eacute; dans les environs une tour qui entame le dialogue avec la tour monumentale de la cath\u0026eacute;drale Saint-Rombout de Malines. L\u0026rsquo;\u0026oelig;uvre r\u0026eacute;pond \u0026agrave; sa vision oppos\u0026eacute;e \u0026agrave; deux fondements de la tradition europ\u0026eacute;enne, la foi et l\u0026rsquo;architecture.\u003c/p\u003e\r\n"}]},{"id":1704,"title":"Resurrection","dimensions":"variable dimensions","date_begin":"1995-01-01","material":"TV set, flagstones","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":13,"stream_count":0,"collection":"Courtesy of Stella Lohaus, Antwerp","cached_tag_list":"object","publishing_process_id":1,"annotation":"\u003cp\u003eAP 1, Edition of 21 + 4 AP Signed and dated \u0026quot;Jimmie Durham 06\u0026quot; on front lower right corner location: HT Transport, Berlin\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":105,"permalink":"resurrection--2","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/917/medium_500/Amberes_photo_M_HKA_cc_2019_cc_01_9.jpg?1559822515","cached_actor_names":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/045/917/large/Amberes_photo_M_HKA_cc_2019_cc_01_9.jpg?1559822515","poster_credits":"(c)photo: M HKA, 2019, Collection Stella Lohaus, Antwerp","translations":[{"locale":"en","description":"\u003cp\u003e\u0026quot;One of my first pieces after I moved to \u003ca href=\"http://ensembles.mhka.be/ensembles/74\"\u003eEurope\u003c/a\u003e\u0026nbsp;in the nineties was an edition of 25 television sets for a gallery in Antwerp. I threw a cobblestone at the screen of each one, breaking it. There were two assistants who would take away the completed piece and bring out the next television set, because we were also recording the action on video. At first it was pleasant work, with a satisfying explosion and ensuing sound of falling glass. But after breaking four or five television sets I began to feel nervous. The remaining televisions all waited in a small room, and my sympathy for them grew with each throw. Before the end, I was feeling sad and guilty.\u0026quot;\u0026nbsp;\u0026nbsp;(Jimmie Durham)\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026ldquo;Een van mijn eerste werken na mijn verhuis naar \u003ca href=\"http://ensembles.mhka.be/ensembles/74\"\u003eEuropa\u003c/a\u003e\u0026nbsp;in de jaren 90 was een editie van 25 tv-toestellen voor een galerie in Antwerpen. Ik gooide een kassei naar elk scherm en sloeg het aan diggelen. Twee assistenten voerden het be\u0026euml;indigde werk weg en brachten het volgende tv-toestel binnen, want we namen de actie op video op. Aanvankelijk was het aangenaam werk, met een bevredigende explosie en daaropvolgend het geluid van vallend glas. Maar na vier of vijf kapotte tv-toestellen begon ik zenuwachtig te worden. De overblijvende tv\u0026rsquo;s stonden te wachten in een kleine kamer, en mijn sympathie voor ze groeide met elke worp. Nog voor het einde voelde ik me droevig en schuldig.\u0026rdquo;\u0026nbsp;(Jimmie Durham)\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo; L\u0026#39;une de mes premi\u0026egrave;res pi\u0026egrave;ces [apr\u0026egrave;s m\u0026#39;\u0026ecirc;tre install\u0026eacute; en \u003ca href=\"http://ensembles.mhka.be/ensembles/74\"\u003eEurope\u003c/a\u003e\u0026nbsp;dans les ann\u0026eacute;es 90 \u0026eacute;tait une \u0026eacute;dition de 25 postes de t\u0026eacute;l\u0026eacute;vision pour une galerie \u0026agrave; Anvers. J\u0026#39;ai jet\u0026eacute; un pav\u0026eacute; sur l\u0026#39;\u0026eacute;cran de chacun d\u0026#39;entre eux, ce qui les a d\u0026eacute;truits. Il y avait deux assistants qui emportaient la pi\u0026egrave;ce achev\u0026eacute;e et apportaient le t\u0026eacute;l\u0026eacute;viseur suivant, parce que nous filmions aussi l\u0026#39;action en vid\u0026eacute;o. Au d\u0026eacute;but, c\u0026#39;\u0026eacute;tait assez agr\u0026eacute;able \u0026agrave; faire, avec une explosion satisfaisante et le son de verre bris\u0026eacute; qui en r\u0026eacute;sulte. Mais apr\u0026egrave;s avoir d\u0026eacute;truit quatre ou cinq t\u0026eacute;l\u0026eacute;viseurs, je commen\u0026ccedil;ais \u0026agrave; devenir nerveux. Tous les t\u0026eacute;l\u0026eacute;viseurs restants attendaient dans un petit espace, et ma sympathie pour eux augmentait \u0026agrave; chaque jet de pierre. Avant la fin, je me sentais triste et coupable. \u0026raquo;\u0026nbsp; (Jimmie Durham)\u003c/p\u003e\r\n"}]},{"id":547,"title":"A Dead Deer","dimensions":"120 x 72 x 14.4 cm","date_begin":"1986-01-01","material":"skull, bone, wood, paint, string, plastic","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":1,"collection":"Collection M HKA, Antwerp / Collection Flemish Community ","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eBK6913_M159C. Currently in the possession of the M HKA.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cstrong\u003eFR\u003c/strong\u003e -\u003c/p\u003e\r\n","date_end":"1986-01-01","reference":"BK006913-003","stream_count_app":125,"permalink":"a-dead-deer","description_ru":"","description_de":"\u003cp\u003eDie Figuren im Werk \u003cem\u003eMetamorfosen\u003c/em\u003e des Dichters Ovidius ver\u0026auml;ndern spielend leicht die Erscheinungsform: von Mensch zu Tier oder von Mensch zu Baum \u0026ndash; die Trennlinie zwischen zwei verschiedenen Wesen verschwimmt. Jimmie Durham verwendet diese Elemente in Werken wie \u003cem\u003eA Dead Deer\u003c/em\u003e (dt. Ein toter Hirsch). Ein Hirschsch\u0026auml;del, von dem eine \u0026uuml;brige H\u0026auml;lfte des Geweihs einem Ast gleicht, ist mit bunten Farben bemalt und an einem dicken Ast, die den Rumpf des Tieres darstellt, befestigt. Zwei echte Hirschpfoten sind in der Mitte des Zweigs befestigt. Diese toten Materialien bilden zusammen einen Baum-Hirsch oder Hirsch-Baum, der nicht wirklich tot aussieht, aber vor uns zu tanzen scheint.\u003c/p\u003e\r\n","description_es":"","description_el":"\u003cp\u003e\u0026Omicron;\u0026iota; ή\u0026rho;\u0026omega;\u0026epsilon;\u0026sigmaf; \u0026sigma;\u0026tau;\u0026iota;\u0026sigmaf; \u003cem\u003e\u0026Mu;\u0026epsilon;\u0026tau;\u0026alpha;\u0026mu;\u0026omicron;\u0026rho;\u0026phi;ώ\u0026sigma;\u0026epsilon;\u0026iota;\u0026sigmaf; \u003c/em\u003e\u0026tau;\u0026omicron;\u0026upsilon; \u0026Omicron;\u0026beta;\u0026iota;\u0026delta;ί\u0026omicron;\u0026upsilon; \u0026alpha;\u0026lambda;\u0026lambda;ά\u0026zeta;\u0026omicron;\u0026upsilon;\u0026nu; \u0026mu;\u0026omicron;\u0026rho;\u0026phi;ή \u0026mu;\u0026epsilon; \u0026chi;\u0026alpha;\u0026rho;\u0026alpha;\u0026kappa;\u0026tau;\u0026eta;\u0026rho;\u0026iota;\u0026sigma;\u0026tau;\u0026iota;\u0026kappa;ή ά\u0026nu;\u0026epsilon;\u0026sigma;\u0026eta;: \u0026alpha;\u0026pi;ό ά\u0026nu;\u0026theta;\u0026rho;\u0026omega;\u0026pi;\u0026omicron;\u0026iota; \u0026gamma;ί\u0026nu;\u0026omicron;\u0026nu;\u0026tau;\u0026alpha;\u0026iota; \u0026zeta;ώ\u0026alpha;, \u0026delta;έ\u0026nu;\u0026tau;\u0026rho;\u0026alpha; \u0026ndash; \u0026tau;\u0026alpha; ό\u0026rho;\u0026iota;\u0026alpha; \u0026alpha;\u0026nu;ά\u0026mu;\u0026epsilon;\u0026sigma;\u0026alpha; \u0026sigma;\u0026tau;\u0026alpha; \u0026delta;\u0026iota;\u0026alpha;\u0026phi;\u0026omicron;\u0026rho;\u0026epsilon;\u0026tau;\u0026iota;\u0026kappa;ά ό\u0026nu;\u0026tau;\u0026alpha; \u0026epsilon;ί\u0026nu;\u0026alpha;\u0026iota; \u0026sigma;\u0026upsilon;\u0026chi;\u0026nu;ά \u0026delta;\u0026upsilon;\u0026sigma;\u0026delta;\u0026iota;ά\u0026kappa;\u0026rho;\u0026iota;\u0026tau;\u0026alpha;. \u0026Alpha;\u0026upsilon;\u0026tau;ά \u0026tau;\u0026alpha; \u0026sigma;\u0026tau;\u0026omicron;\u0026iota;\u0026chi;\u0026epsilon;ί\u0026alpha; \u0026chi;\u0026rho;\u0026eta;\u0026sigma;\u0026iota;\u0026mu;\u0026omicron;\u0026pi;\u0026omicron;\u0026iota;\u0026epsilon;ί \u0026kappa;\u0026alpha;\u0026iota; \u0026omicron; \u0026Tau;\u0026zeta;ί\u0026mu;\u0026iota; \u0026Nu;\u0026tau;έ\u0026rho;\u0026alpha;\u0026mu; \u0026sigma;\u0026epsilon; έ\u0026rho;\u0026gamma;\u0026alpha; \u0026tau;\u0026omicron;\u0026upsilon; ό\u0026pi;\u0026omega;\u0026sigmaf; \u0026tau;\u0026omicron; \u003cem\u003eA Dead Deer\u003c/em\u003e [\u003cem\u003e\u0026Nu;\u0026epsilon;\u0026kappa;\u0026rho;ό \u0026epsilon;\u0026lambda;ά\u0026phi;\u0026iota;]\u003c/em\u003e\u003cem\u003e.\u003c/em\u003e \u0026Tau;\u0026omicron; \u0026kappa;\u0026rho;\u0026alpha;\u0026nu;ί\u0026omicron; \u0026epsilon;\u0026nu;ό\u0026sigmaf; \u0026epsilon;\u0026lambda;\u0026alpha;\u0026phi;\u0026iota;\u0026omicron;ύ, \u0026zeta;\u0026omega;\u0026gamma;\u0026rho;\u0026alpha;\u0026phi;\u0026iota;\u0026sigma;\u0026mu;έ\u0026nu;\u0026omicron; \u0026mu;\u0026epsilon; έ\u0026nu;\u0026tau;\u0026omicron;\u0026nu;\u0026alpha; \u0026chi;\u0026rho;ώ\u0026mu;\u0026alpha;\u0026tau;\u0026alpha;, έ\u0026chi;\u0026epsilon;\u0026iota; \u0026sigma;\u0026tau;\u0026epsilon;\u0026rho;\u0026epsilon;\u0026omega;\u0026theta;\u0026epsilon;ί \u0026sigma;\u0026epsilon; έ\u0026nu;\u0026alpha; \u0026chi;\u0026omicron;\u0026nu;\u0026tau;\u0026rho;ό \u0026kappa;\u0026lambda;\u0026alpha;\u0026delta;ί, \u0026pi;\u0026omicron;\u0026upsilon; \u0026epsilon;\u0026pi;έ\u0026chi;\u0026epsilon;\u0026iota; \u0026theta;έ\u0026sigma;\u0026eta; \u0026sigma;ώ\u0026mu;\u0026alpha;\u0026tau;\u0026omicron;\u0026sigmaf; \u0026tau;\u0026omicron;\u0026upsilon; \u0026zeta;ώ\u0026omicron;\u0026upsilon;· \u0026sigma;\u0026tau;\u0026eta; \u0026mu;έ\u0026sigma;\u0026eta; \u0026tau;\u0026omicron;\u0026upsilon; \u0026kappa;\u0026lambda;\u0026alpha;\u0026delta;\u0026iota;\u0026omicron;ύ έ\u0026chi;\u0026omicron;\u0026upsilon;\u0026nu; \u0026sigma;\u0026tau;\u0026epsilon;\u0026rho;\u0026epsilon;\u0026omega;\u0026theta;\u0026epsilon;ί \u0026delta;ύ\u0026omicron; \u0026pi;\u0026rho;\u0026alpha;\u0026gamma;\u0026mu;\u0026alpha;\u0026tau;\u0026iota;\u0026kappa;ά \u0026pi;ό\u0026delta;\u0026iota;\u0026alpha; \u0026epsilon;\u0026lambda;\u0026alpha;\u0026phi;\u0026iota;\u0026omicron;ύ. \u0026Tau;\u0026alpha; \u0026laquo;\u0026nu;\u0026epsilon;\u0026kappa;\u0026rho;ά\u0026raquo; \u0026alpha;\u0026upsilon;\u0026tau;ά \u0026upsilon;\u0026lambda;\u0026iota;\u0026kappa;ά \u0026sigma;\u0026upsilon;\u0026nu;\u0026theta;έ\u0026tau;\u0026omicron;\u0026upsilon;\u0026nu; έ\u0026nu;\u0026alpha; \u0026delta;έ\u0026nu;\u0026tau;\u0026rho;\u0026omicron;-\u0026epsilon;\u0026lambda;ά\u0026phi;\u0026iota;, ή \u0026epsilon;\u0026lambda;ά\u0026phi;\u0026iota;-\u0026delta;έ\u0026nu;\u0026tau;\u0026rho;\u0026omicron;, \u0026pi;\u0026omicron;\u0026upsilon; \u0026delta;\u0026epsilon;\u0026nu; \u0026mu;\u0026omicron;\u0026iota;ά\u0026zeta;\u0026epsilon;\u0026iota; \u0026kappa;\u0026alpha;\u0026iota; \u0026tau;ό\u0026sigma;\u0026omicron; \u0026nu;\u0026epsilon;\u0026kappa;\u0026rho;ό, ό\u0026sigma;\u0026omicron; \u0026sigma;\u0026alpha;\u0026nu; \u0026nu;\u0026alpha; \u0026chi;\u0026omicron;\u0026rho;\u0026epsilon;ύ\u0026epsilon;\u0026iota; \u0026gamma;\u0026iota;\u0026alpha; \u0026mu;\u0026alpha;\u0026sigmaf;.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n","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":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/003/317/large/11.jpg?1317625116","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eThe characters in \u003cem\u003eOvid\u0026rsquo;s Metamorphoses\u003c/em\u003e change easily their appearance: from human to animal, from human to tree - the border between the two different beings is often unclear. Jimmie Durham uses these elements in works as\u003cem\u003e A Dead Deer\u003c/em\u003e. A deer skull is painted with bright colours and attached on a thick branch as if it was the animal\u0026rsquo;s body; two real deer-legs are attached to the middle of the branch. These \u0026lsquo;dead\u0026rsquo; materials form altogether a tree-deer or a deer-tree that does not really look dead, but instead seems to be dancing for us.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe figuren in het werk \u003cem\u003eMetamorfosen\u003c/em\u003e van de dichter Ovidius veranderen met gemak van verschijningsvorm: van mens naar dier of van mens naar boom - de scheidslijn tussen twee verschillende wezens vervaagt. Jimmie Durham past deze elementen toe in werken zoals \u003cem\u003eA Dead Deer\u003c/em\u003e. Een hertenschedel waarvan \u0026eacute;\u0026eacute;n resterende helft van het gewei op een tak lijkt, is beschilderd met felle kleuren en bevestigd aan een dikke tak die de romp van het dier voorstelt. Twee echte hertenpoten zijn in het midden van de tak vastgemaakt. Deze dode materialen vormen samen een boom-hert of een hert-boom die er niet echt dood uit ziet, maar voor ons lijkt te dansen.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLes personnages dans l\u0026rsquo;\u0026oelig;uvre \u003cem\u003eM\u0026eacute;tamorphoses\u003c/em\u003e du po\u0026egrave;te Ovide changent avec aisance d\u0026rsquo;apparence\u0026nbsp;: d\u0026rsquo;\u0026ecirc;tre humain \u0026agrave; animal ou arbre \u0026ndash; la diff\u0026eacute;renciation entre deux cr\u0026eacute;atures diverses s\u0026rsquo;estompe. Jimmie Durham applique ces \u0026eacute;l\u0026eacute;ments \u0026agrave; des \u0026oelig;uvres comme \u003cem\u003eA Dead Deer\u003c/em\u003e. Un cr\u0026acirc;ne de cerf, dont subsiste une moiti\u0026eacute; de ramure qui ressemble \u0026agrave; une branche, est peint en couleurs vives. Le cr\u0026acirc;ne est fix\u0026eacute; \u0026agrave; une grosse branche qui repr\u0026eacute;sente le tronc de l\u0026rsquo;animal. Deux v\u0026eacute;ritables pattes de cerf sont \u0026agrave; leur tour fix\u0026eacute;es au milieu de la branche. Ces mat\u0026eacute;riaux morts constituent ensemble un \u0026laquo;\u0026nbsp;arbre-cerf\u0026nbsp;\u0026raquo; ou un \u0026laquo;\u0026nbsp;cerf-arbre\u0026nbsp;\u0026raquo; qui n\u0026rsquo;a pas vraiment l\u0026rsquo;air mort, mais semble au contraire danser sous nos yeux.\u003c/p\u003e\r\n"}]},{"id":545,"title":"Untitled (Armadillo)","dimensions":"125 x 60 x 23 cm","date_begin":"1991-01-01","material":"cast head, beads, paint, wood, photograph","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":2,"collection":"Collection M HKA,  Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1991-01-01","reference":"BK006913-001","stream_count_app":71,"permalink":"untitled-armadillo","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":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/007/308/large/armadillo%20%28c%29%20mta.jpg?1331125810","poster_credits":"(c) image: Maria Thereza Alves","translations":[{"locale":"en","description":"\u003cp\u003eThe head of a reptile-like mouse is attached with yellow tape to a construction. This small head, painted in bright red and with one Plexiglas ear, is an armadillo\u0026#39; - an endangered animal with an armor consisting of strong bony plates, covered by horny skin. The animal is found in South and Central America and in the south-central states of the United States. Amongst other things, he eats animal remains and some believe that it searches for human remains on cemeteries. A black and white photograph is attached to the sculpture, at breast height. The picture seems to \u0026#39;speak the language\u0026#39; of a B-movie. There are two figures: a dominant man in a black suit keeps another one imprisoned: a man with naked torso, tied to a chair with ropes. Durham purposely makes a \u0026#39;speech error\u0026#39;: the dominant man does not threaten the other with a pistol, but with the small head of an armadillo.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eAan een constructie is een reptielachtig muizenkopje bevestigd met gele tape. Het felrood geschilderd kopje met \u0026eacute;\u0026eacute;n oor van plexiglas is van een armadillo (gordeldier), een met uitsterven bedreigd diertje dat een pantser van been op zijn rug heeft. Het komt voor in Zuid-Amerika en in Texas en eet onder andere dierlijke resten en men wil geloven dat het op begraafplaatsen ook naar menselijke resten zoekt. Een zwartwit-foto is bevestigd aan de sculptuur, op borsthoogte. De foto lijkt \u0026lsquo;de taal te spreken\u0026rsquo; van een still uit een B-film met twee figuren: een dominante staande man in zwart pak houdt een zittende, met touw aan een stoel vastgebonden man met ontbloot bovenlijf gevangen. Jimmie Durham maakt bewust een \u0026lsquo;spreekfout\u0026rsquo;: de dominante man bedreigt de andere niet met een pistool, maar met een armadillokopje.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026Agrave; une construction est fix\u0026eacute;e une t\u0026ecirc;te de souris \u0026agrave; l\u0026rsquo;aide de ruban adh\u0026eacute;sif jaune. La petite t\u0026ecirc;te peinte en rouge vif, dot\u0026eacute;e d\u0026rsquo;une seule oreille en plexiglas est celle d\u0026rsquo;un *armadillo* (tatou) - une esp\u0026egrave;ce menac\u0026eacute;e qui a le corps recouvert d\u0026rsquo;une carapace form\u0026eacute;e de plaques osseuses articul\u0026eacute;es, recouvertes de corne. L\u0026rsquo;animal vit en Am\u0026eacute;rique m\u0026eacute;ridionale et au Texas et se nourrit, entre autres, de charognes animales et la croyance veut qu\u0026rsquo;il se rende aussi dans des cimeti\u0026egrave;res, \u0026agrave; la recherche de restes humains. \u0026Agrave; hauteur du torse de la sculpture, on aper\u0026ccedil;oit une photographie en noir et blanc. La photo semble \u0026laquo;\u0026nbsp;parler la langue\u0026nbsp;\u0026raquo; d\u0026rsquo;une photo extraite d\u0026rsquo;un film de s\u0026eacute;rie B avec deux personnages\u0026nbsp;: un homme dominant, debout, en costume noir, et un prisonnier, ligot\u0026eacute; \u0026agrave; une chaise, le torse d\u0026eacute;nud\u0026eacute;. Jimmie Durham fait d\u0026eacute;lib\u0026eacute;r\u0026eacute;ment une \u0026laquo;\u0026nbsp;faute de langage\u0026nbsp;\u0026raquo;\u0026nbsp;: l\u0026rsquo;homme dominant ne menace pas le captif avec un revolver, mais avec une t\u0026ecirc;te de tatou.\u003c/p\u003e\r\n"}]},{"id":549,"title":"Gilgamesh","dimensions":"355 x 63 cm, 300 x 140 cm","date_begin":"1993-01-01","material":"wood, iron, PVC, axe, metal","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"De Vleeshal Collection, Middelburg (The Netherlands)","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e\u0026#39;Jimmie Durham - Pierres rejet\u0026eacute;es ...\u0026#39; , Mus\u0026eacute;e d\u0026#39;Art Moderne de la Ville de Paris / ARC, Paris, p. 62-63 also calles \u0026#39;Gilgamesh and me\u0026#39;\u003c/p\u003e\r\n","date_end":null,"reference":"VH0248","stream_count_app":78,"permalink":"gilgamesh","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":"Jimmie Durham","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/188/large/Durham,%20Jimmie,%20Gilgamesh,%202003,%20photo%20clinckx_1.jpg?1304680913","poster_credits":"© M HKA","translations":[{"locale":"en","description":"\u003cp\u003eJimmie Durham made *Gilgamesh* for Antwerp 93 \u0026ndash; European Capital of Culture. On that occasion, several artists were asked to produce a work with \u0026#39;the city\u0026#39; as subject. Durham\u0026#39;s starting point was the ancient epic of Gilgamesh, the mighty king of the Sumerian city-state of Uruk. He retells a part of the story in the [text](http://ensembles.mhka.be/items/3158) which he wrote to present alongside the sculpture. \u2028For Durham, Gilgamesh is a symbol of city, culture and civilization - the sculpture summarizes various aspects of this story. The materials, wood and plastic, stand for nature and culture. The impressive door symbolizes the opening to the city, but both lock and door handle are on the wrong side. In his work, the artist shows an opening, a possibility for symbiosis between nature and culture, but also the vulnerable balance between the two.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eJimmie Durham maakte *Gilgamesh* voor Antwerpen 93 \u0026ndash; culturele hoofdstad van Europa. In dat kader werd aan verschillende kunstenaars gevraagd om een werk te maken met als onderwerp \u0026lsquo;de stad\u0026rsquo;. Durham vertrok van het oeroude heldenepos over Gilgamesh, de machtige koning van de Soemerische stadstaat Uruk. Hij hervertelt een gedeelte van het verhaal in de [tekst](http://ensembles.mhka.be/items/3158) die hij bij het beeld schreef. Gilgamesh staat bij hem symbool voor stad, cultuur en beschaving. Het beeld Gilgamesh vat verschillende aspecten uit dit verhaal samen. De materialen, hout en plastic, staan voor natuur en cultuur. De imposante deur symboliseert de opening naar de stad, maar het slot en de deurklink staan op de verkeerde kant. Durham toont in zijn werk de opening, de mogelijkheid tot symbiose tussen natuur en cultuur, maar ook het kwetsbare evenwicht tussen beide.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eJimmie Durham a r\u0026eacute;alis\u0026eacute; l\u0026#39;\u0026oelig;uvre *Gilgamesh* pour Anvers\u0026nbsp;93 \u0026ndash; Capitale culturelle de l\u0026#39;Europe. Dans ce cadre, la ville a invit\u0026eacute; diff\u0026eacute;rents artistes \u0026agrave; r\u0026eacute;aliser une \u0026oelig;uvre autour du sujet de \u0026laquo;\u0026nbsp;la ville\u0026nbsp;\u0026raquo;. Durham est parti de la tr\u0026egrave;s ancienne \u0026eacute;pop\u0026eacute;e de Gilgamesh, le puissant roi sum\u0026eacute;rien de la cit\u0026eacute;-\u0026Eacute;tat d\u0026#39;Uruk. Dans le [texte](http://ensembles.mhka.be/items/3158) que Durham a \u0026eacute;crit pour accompagner la sculpture, il revisite une partie de l\u0026#39;histoire. Pour Durham, Gilgamesh symbolise la ville, la culture, la civilisation. La sculpture r\u0026eacute;sume plusieurs aspects de cette histoire. Les mat\u0026eacute;riaux, le bois et le plastique repr\u0026eacute;sentent la nature et la culture. La porte imposante renvoie \u0026agrave; l\u0026#39;ouverture de la ville, mais la serrure et la poign\u0026eacute;e de porte sont plac\u0026eacute;es du mauvais c\u0026ocirc;t\u0026eacute;. Dans son \u0026oelig;uvre, Durham montre l\u0026#39;ouverture, la possibilit\u0026eacute; de symbiose entre la nature et la culture, mais aussi l\u0026#39;\u0026eacute;quilibre fragile entre les deux.\u003c/p\u003e\r\n"}]},{"id":844,"title":"Jimmie Durham - Eurasian Project, Stage One","dimensions":"21 cm x 15,2 cm","date_begin":"1996-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":26,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"Exhibition Catalogue","publishing_process_id":1,"annotation":"\u003cp\u003eISBN 2-907331-11-6, Le Channel, Sc\u0026egrave;ne National de Calais/Le Coll\u0026egrave;ge - FRAC Fonds R\u0026eacute;gional d\u0026#39;Art Contemporain Champagne-Ardenne, Calais/Reims, ill., French, English\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":20,"permalink":"jimmie-durham-eurasian-project-stage-one","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":"Jimmie Durham, Jean-Pierre Rehm, Denys Zacharopoulos","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/293/large/eurasianprojectstageone_book.jpg?1336988685","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003ePublished on the occasion of the exhibitions [*La le\u0026ccedil;on d\u0026#39;anatomie (A Progress Report)*](http://ensembles.mhka.be/events/la-lecon-d-anatomie-a-progress-report) and [*La porte de l\u0026#39;Europe (les bourgeois de Calais)*](http://ensembles.mhka.be/events/la-porte-de-l-europe-les-bourgeois-de-calais). Available for consultation at [M HKA_library](http://www.muhka.be/verzamelt_beeldbib.php?la=en)\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDit boek werd uitgegeven in het kader van de tentoonstellingen [*La le\u0026ccedil;on d\u0026#39;anatomie (A Progress Report)*](http://ensembles.mhka.be/events/la-lecon-d-anatomie-a-progress-report) en [*La porte de l\u0026#39;Europe (les bourgeois de Calais)*](http://ensembles.mhka.be/events/la-porte-de-l-europe-les-bourgeois-de-calais). Te raadplegen in de [M HKA_bibliotheek](http://www.muhka.be/verzamelt_beeldbib.php?la=nl)\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":561,"title":"Grünewald","dimensions":"00:13:55","date_begin":"2006-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":8,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e\u0026#39;Jimmie Durham - Pierres rejet\u0026eacute;es ...\u0026#39; , Mus\u0026eacute;e d\u0026#39;Art Moderne de la Ville de Paris / ARC, Paris, p. 204-205 , Jimmie Durham Grunewald Starring : Grunewald Maria Thereza Alves Riccardo Benassi Jimmie Durham Giulia Fazioli Anne Maier Silvia Ocougne Thomas Bo Oestergaard Magnus Ottertun Nico Vascellari Joen Vedel Phone call by Jone Kvie Performed in Berlin\u0026rsquo;s Grunewald Directed and edited by Maria Thereza Alves Alves \u0026ndash; Durham GbR 2006 Duur 13 minuten 35 seconden. Currently in the artist\u0026#39;s storage: Grossg\u0026ouml;rschenstrasse 6, 10827 Berlin, Sch\u0026ouml;neberg, Germany.\u003c/p\u003e\r\n","date_end":"2006-01-01","reference":"UFO2009_002","stream_count_app":91,"permalink":"grunewald","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/237/medium_500/cap016.jpg?1304929926","cached_actor_names":"Jimmie Durham, Maria Thereza Alves","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/001/240/large/cap020.jpg?1304930084","poster_credits":"(c)image: Maria Thereza Alves","translations":[{"locale":"en","description":"\u003cp\u003eDurham made this video with Maria Thereza Alves. It begins as a nature documentary, accompanied by trumpet sounds. Just when the viewer begins to wonder what animals do make such a sound, the sounds of working people and birds reach his ear. This is followed by a visual cue: a procession of people is shown, all blowing bird whistles. The participants perform the strangest acts; the viewer can only guess at their motives. Only when the camera zooms out and shows what was previously left out of sight, we get a hint. The whistlers are making music, while interpreting the sounds from the forest in their own way.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDeze video maakte Durham samen met Maria Thereza Alves. Het begint als een natuurdocumentaire, opgeluisterd door trompetgeluiden. Net wanneer de kijker zich begint af te vragen welke dieren een dergelijk geluid voortbrengen, sijpelen vogelgezang en het geluid van werkende mensen de oren binnen. Daarna volgt ook een visuele aanwijzing; een stoet mensen wordt in beeld gebracht, allen blazend op een vogelfluitje. De aanwezigen voeren de vreemdste handelingen uit waarbij de kijker het raden heeft naar hun beweegreden. Een hint volgt pas wanneer de camera uitzoomt en in beeld brengt wat voorheen buiten het gezichtsveld lag. De mensen maken muziek en vormen een eigen interpretatie van geluiden uit het bos.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDurham a r\u0026eacute;alis\u0026eacute; cette vid\u0026eacute;o avec Maria Thereza Alves. \u0026Ccedil;a commence comme un documentaire sur la nature, agr\u0026eacute;ment\u0026eacute;e de sons de trompette. Au moment pr\u0026eacute;cis o\u0026ugrave; le spectateur commence \u0026agrave; se demander quel animal peut bien \u0026eacute;mettre un tel son, on entend des chants d\u0026rsquo;oiseaux et le bruit de personnes qui travaillent. Ensuite, on obtient une indication visuelle\u0026nbsp;: un cort\u0026egrave;ge de personnes appara\u0026icirc;t \u0026agrave; l\u0026rsquo;image, chacun soufflant dans un pipeau. Les participants ex\u0026eacute;cutent les actions les plus \u0026eacute;tranges, laissant le spectateur deviner les raisons qui les motivent \u0026agrave; agir de la sorte. Le premier indice lui est donn\u0026eacute; quand la cam\u0026eacute;ra fait un mouvement arri\u0026egrave;re et montre un plan g\u0026eacute;n\u0026eacute;ral, permettant d\u0026rsquo;apercevoir ce qui \u0026eacute;tait pr\u0026eacute;c\u0026eacute;demment hors champ. Les personnes film\u0026eacute;es font de la musique et donnent ainsi une propre interpr\u0026eacute;tation des bruits de la for\u0026ecirc;t.\u003c/p\u003e\r\n"}]}]