{"id":101,"name":"","email":"","language_id":1,"permalink":"leo-copers","deleted":false,"legal_status_id":12,"url_1":"","twitter":null,"category_id":47,"date_of_birth":"1947-01-01T00:00:00.000+01:00","place_of_birth":"","country_of_birth":"","place_of_residence":"","country_of_residence":"","cached_privileges_list":"User","cached_tag_list":"Sculpture installation","publishing_process_id":1,"can_log_in":false,"firstname":"Leo","lastname":"Copers","annotation":"","url_2":"","url_3":"","cached_name":"Leo Copers","date_of_death":null,"cached_name_asc":"Copers, Leo","stream_count_app":55,"gender":"other","platform_admin":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/009/735/large/002_Leo-Copers.jpg?1340353229","poster_credits":"(c)image: Isabelle Pateer","media_count":1,"items_count":10,"translations":[{"locale":"en","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eLeo Copers\u003c/strong\u003e has built up a varied oeuvre of sculptural work, installations and performances since the late sixties. The starting point is an everyday object, which he changes, isolates or expands so that it will become both poetic and dramatic, speaking of danger, destruction and mortality. Copers\u0026rsquo;s work is composed with a measure of both irony and strategicic thinking. The use objects are selected on the basis of the specific expectations they create in the viewer. But this expectation is immediately undermined by means of some minimal adjustment to the context. The materials chosen may well inspire caution, but at the same time they create an alienating and romantic image. The aestheticisation of violence is a recurring element in Copers\u0026rsquo;s oeuvre. He plays on the margins between material things, harsh reality and the disturbing power of an immoral dream world, using weapons as a metaphor, as his mental clenched fist. He uses things not normally available to the artist. It is, for instance, forbidden for ordinary citizens to carry a weapon. At first sight Copers\u0026rsquo;s work often appears highly accessible and attractive, even beautiful. But this is always followed by a moment of amazement. Things are never what they at first seem, or at least not entirely. There is a hint of real danger and mystery. In addition, there is always tension between the elements used. The artist is interested in such natural forces as water, light and fire, and strives to pitch them against each other.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003e\u003cstrong\u003eLeo Copers \u003c/strong\u003eheeft een uiteenlopend oeuvre van sculpturaal werk, installaties en performances sinds de late jaren 60. In zijn werk zien we de thematiek van gevaar, destructie en vergankelijkheid telkens terugkeren. Dit gegeven wordt op een dualistische manier benaderd; een dramatische enscenering wordt op een po\u0026euml;tische wijze in beeld gebracht. Hiervoor gebruikt de kunstenaar dagelijkse objecten die hij aanvult, verandert of isoleert. Copers stelt zijn werk niet zonder enige ironie samen, hij cre\u0026euml;ert ze op strategische wijze. De gebruiksvoorwerpen worden geselecteerd op basis van hun specifieke verwachtingspatroon. Die verwachting wordt echter onmiddellijk doorprikt daar er in de context een minieme verandering wordt aangebracht. De materiaalkeuze insinueert wel gevaar, maar resulteert in een vervreemdend en romantisch beeld. Het thema van dreiging en spanning komt zo geregeld terug, maar wordt op een esthetische manier verbeeld. Een ander aspect dat het thema versterkt is de spanning tussen de elementen. De kunstenaar is ge\u0026iuml;nteresseerd in natuurkrachten zoals water, licht en vuur, en streeft naar een evenwicht hiertussen.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp\u003eDepuis la fin des ann\u0026eacute;es 60, \u003cstrong\u003eLeo Copers\u003c/strong\u003e produit une \u0026oelig;uvre tr\u0026egrave;s diversifi\u0026eacute;e, compos\u0026eacute;e de sculptures, d\u0026rsquo;installations et de performances. Point de d\u0026eacute;part est l\u0026rsquo;objet du quotidien qu\u0026rsquo;il modifie, isole ou compl\u0026egrave;te de cette mani\u0026egrave;re que l\u0026rsquo;objet devient po\u0026eacute;tique et dramatique. Ainsi l\u0026rsquo;objet parle du danger, de la destruction et de la pr\u0026eacute;carit\u0026eacute;. Copers compose ses \u0026oelig;uvres non sans une certaine ironie, mais avec strat\u0026eacute;gie. Les objets utilitaires qu\u0026rsquo;il s\u0026eacute;lectionne r\u0026eacute;pondent \u0026agrave; un sch\u0026eacute;ma d\u0026rsquo;attentes sp\u0026eacute;cifiques qu\u0026rsquo;il d\u0026eacute;tourne aussit\u0026ocirc;t en leur apportant une modification minime dans le contexte. Le choix des mat\u0026eacute;riaux sugg\u0026egrave;re le danger, mais r\u0026eacute;sulte toujours en une \u0026oelig;uvre \u0026agrave; la fois ali\u0026eacute;nante et romantique. L\u0026rsquo;esth\u0026eacute;tisation de la violence est un \u0026eacute;l\u0026eacute;ment r\u0026eacute;current dans l\u0026rsquo;\u0026oelig;uvre de Leo Copers. L\u0026rsquo;artiste joue sur la fronti\u0026egrave;re entre la dure r\u0026eacute;alit\u0026eacute; mat\u0026eacute;rielle et la force inqui\u0026eacute;tante d\u0026rsquo;un univers onirique immoral. Copers se sert d\u0026rsquo;armes en tant que m\u0026eacute;taphores. Elles constituent le poing serr\u0026eacute; mental de l\u0026rsquo;artiste. Celui-ci engage des moyens qui ne sont normalement pas accessibles \u0026agrave; l\u0026rsquo;artiste : le port d\u0026rsquo;arme est interdit au simple citoyen. \u0026Agrave; premi\u0026egrave;re vue, l\u0026rsquo;\u0026oelig;uvre de Copers est souvent limpide et attire par sa beaut\u0026eacute;. Mais cette premi\u0026egrave;re impression est quasi toujours suivie d\u0026rsquo;un moment de perplexit\u0026eacute;. Les objets ne sont jamais ce qu\u0026rsquo;ils paraissent \u0026ecirc;tre au d\u0026eacute;part, ou du moins pas tout \u0026agrave; fait. Le danger et le myst\u0026egrave;re demeure.\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"locations":[{"country":"","place":"Ghent","category":{"en":"Born in","nl":"Geboren in","fr":"Né à"}},{"country":"","place":"Ghent","category":{"en":"Lives in","nl":"Leeft in","fr":"Vit à"}}]}