{"id":4854,"title":"190 # 1","dimensions":"100 x 150 cm","date_begin":"2004-01-01","material":"oil, canvas","art_status_id":13,"legal_status_id":47,"category_id":181,"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":"BK7658_M419","stream_count_app":34,"permalink":"190-1","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":"Koen van den Broek","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"category":{"en":"Painting","nl":"Schilderij","fr":""},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/008/567/large/Broek__Koen_Van_den__190__1__2004.JPG?1334239004","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eVan den Broek mainly became known for his disorienting canvases of roadsides, sidewalks, gutters and other \u0026lsquo;horizontal\u0026rsquo; boundaries and border areas. And while they are taken from the most banal of everyday reality, these canvases inevitably tend towards a hieratic abstraction. The figurative residue shimmers through even more explicitly in a series of related works, two examples of which have been acquired by the museum (one a gift of the artist): close-ups of a parched piece of land, or a road surface ridden by deep cracks. Maybe the perspective changes, but in his works \u0026lsquo;190#1\u0026rsquo; and \u0026lsquo;190#2\u0026rsquo; (both from 2004), Van den Broek remains true to the structural leitmotif in his oeuvre: that of the ground from which the world that we inhabit and navigate, arises.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eVan den Broek werd vooral bekend met zijn desori\u0026euml;nterende doeken van bermen, trottoirs, goten en andere \u0026lsquo;horizontale\u0026rsquo; begrenzingen en grensgebieden; hoewel ze aan een zeer banale dagelijkse werkelijkheid zijn ontleend, neigen deze doeken onvermijdelijk naar een hi\u0026euml;ratische abstractie. Het figuratieve residu schemert explicieter door in een reeks hieraan verwante werken, waarvan het museum twee voorbeelden verwierf, \u0026eacute;\u0026eacute;n door een schenking van de kunstenaar zelf: close-ups van een uitgedroogd lapje grond, of een door diepe barsten verscheurd wegoppervlak. Het perspectief mag dan nog veranderen, Van den Broek blijft in \u003cem\u003e190#1\u003c/em\u003e\u0026nbsp;en\u003cem\u003e 190#2\u003c/em\u003e\u0026nbsp;(allebei uit 2004) trouw aan het structurele leitmotief in zijn oeuvre: dat van de grond waarop de wereld, die wij bewonen en navigeren, verrijst.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eVan den Broek a principalement acquis la notori\u0026eacute;t\u0026eacute; pour ses canevas d\u0026eacute;sorientants de bords de route, de trottoirs, de goutti\u0026egrave;res et autres fronti\u0026egrave;res \u0026#39;horizontales\u0026#39; et zones frontali\u0026egrave;res. Et tandis qu\u0026#39;ils sont tir\u0026eacute;s de la r\u0026eacute;alit\u0026eacute; quotidienne la plus banale, ces canevas tendent in\u0026eacute;vitablement \u0026agrave; une abstraction hi\u0026eacute;ratique. Le r\u0026eacute;sidu figuratif miroite encore plus explicitement dans une s\u0026eacute;rie d\u0026#39;oeuvres li\u0026eacute;es, dont deux exemples ont \u0026eacute;t\u0026eacute; acquis par le mus\u0026eacute;e (l\u0026#39;un est un don de l\u0026#39;artiste) : gros plans sur un bout de terre parchemin\u0026eacute; ou la surface d\u0026#39;une route parcourue de profondes fissures. Peut-\u0026ecirc;tre que le point de vue change mais dans ses oeuvres \u0026lsquo;190#1\u0026rsquo; et \u0026lsquo;190#2\u0026rsquo; (qui datent toutes deux de 2004), Van den Broek demeure fid\u0026egrave;le au leitmotiv structurel de son oeuvre : celui de la terre d\u0026#39;o\u0026ugrave; na\u0026icirc;t le monde dans lequel nous vivons et naviguons.\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003eVan den Broek wurde vor allem bekannt f\u0026uuml;r seine desorientierenden Leinw\u0026auml;nde von Stra\u0026szlig;enr\u0026auml;ndern, Fu\u0026szlig;wegen, Rinnen und anderen \u0026bdquo;horizontalen\u0026ldquo; Begrenzungen und Grenzgebieten. Obwohl sie der banalen allt\u0026auml;glichen Wirklichkeit entlehnt sind, neigen diese Leinw\u0026auml;nde unvermeidlich zu einer hierarischen Abstraktion. Das figurative Residuum schimmert in einer Reihe verwandter Arbeiten expliziter durch, von denen das Museum zwei Beispiel erwarb (eine Schenkung des K\u0026uuml;nstlers): Close-ups von einem ausgetrockneten St\u0026uuml;ck Land, oder eine durch tiefe Risse zerrissene Stra\u0026szlig;enfl\u0026auml;che. Die Perspektive mag sich \u0026auml;ndern, aber in seinen Werken \u0026bdquo;190#1\u0026ldquo; und \u0026bdquo;190#2\u0026ldquo; (beide aus dem Jahr 2004) bleibt Van den Broek dem strukturellen Leitmotiv treu: dass vom Boden sich die Welt, die wir bewohnen und navigieren, erhebt.\u003c/p\u003e\r\n"},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":179,"name":"Koen van den Broek","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}