{"id":9543,"title":"Untitled","dimensions":"755 x 565 mm","date_begin":"1973-01-01","material":"charcoal on paper","art_status_id":13,"legal_status_id":12,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"S0491_28","stream_count_app":31,"permalink":"untitled--155","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/606/medium_500/Cox_Jan_ZT_1973_photo_M_HKA14.jpg?1392132681","cached_actor_names":"Jan Cox","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":"Drawing","nl":"Tekening","fr":"Dessin"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/020/606/large/Cox_Jan_ZT_1973_photo_M_HKA14.jpg?1392132681","poster_credits":"Collection M HKA, Antwerp / Donated by Adriaan Raemdonck, 2014, image: (c) M HKA","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eThese charcoal sketches of an organic aspect evoke a good many questions and might at first seem a bit strange, for here we essentially are dealing with an abstraction of feelings and sense-experience.\u0026nbsp; The figure looks like a butterfly, and makes us think of the earlier works \u003cem\u003eButterfly of Love\u003c/em\u003e\u0026nbsp;(Boston, 1960),\u0026nbsp;\u003cem\u003eEscapade de Papillon\u003c/em\u003e\u0026nbsp;(Boston, 1961)\u0026nbsp;and\u0026nbsp;\u003cem\u003eButterfly of Tears\u003c/em\u003e\u0026nbsp;(Boston, 1963).\u0026nbsp; The butterfly motif also returns later in \u003ca href=\"http://ensembles.mhka.be/items/9538\"\u003e\u003cem\u003eThe Fog in Maine\u003c/em\u003e\u003c/a\u003e\u0026nbsp;(Boston, 1974) and in\u003cem\u003e\u0026nbsp;\u003c/em\u003e\u003cem\u003eDe droeve vlinder\u003c/em\u003e\u0026nbsp;(Antwerp, 1975).\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eApplying Freudian dream analysis to contemporary art, we might suggest that first-and-foremost the artist represents him/herself in the work, and that certain feelings continue to emerge as recurring signs or motifs.\u0026nbsp; This butterfly and other animals - but also shells and flowers - within Jan Cox\u0026#39;s oeuvre give shape to particular, acutely felt emotions.\u003c/p\u003e\r\n\r\n\u003cp\u003eThe butterfly is a sort of indefinable thing, of which the \u0026#39;eyes\u0026#39; are clear and recognizable.\u0026nbsp; Just as with \u003cem\u003eUntitled\u003c/em\u003e\u0026nbsp;(1979) where the motif of the door dominates, here the \u0026#39;eyes\u0026#39; (like \u0026#39;two fringed carbuncles\u0026#39;) again evoke the feminine and reflect upon the quest for \u003cem\u003efreedom\u003c/em\u003e.\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003eDeze houtskoolschets van een organische verschijning roept heel wat vragen op en oogt wat vreemd omdat het hier in essentie om een abstrahering van gevoelens en zintuiglijke ervaringen gaat. De verschijning lijkt een vlinder en doet denken aan de eerdere\u0026nbsp;\u003cem\u003eButterfly of Love\u003c/em\u003e (Boston, 1960),\u0026nbsp;Escapade de Papillon (Boston, 1961)\u0026nbsp;en\u0026nbsp;\u003cem\u003eButterfly of Tears\u003c/em\u003e\u0026nbsp;(Boston, 1963). Het vlinder - motief komt ook later terug in \u003ca href=\"http://ensembles.mhka.be/items/9538\"\u003e\u003cem\u003eThe Fog in Maine\u003c/em\u003e\u003c/a\u003e (Boston, 1974) en in\u003cem\u003e De droeve vlinder\u003c/em\u003e (Antwerpen, 1975).\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eAls we de droomanalyse van Freud toepassen binnen de hedendaagse kunst kunnen we stellen dat de kunstenaar \u0026nbsp;in de eerste plaats zichzelf representeert in zijn werk en dat bepaalde gevoelens terugkomen als terugkerende tekens of motieven. Deze vlinder en andere dieren, maar ook schelpen en bloemen binnen het oeuvre van Jan Cox geven gestalte aan zo\u0026#39;n welbepaalde emoties.\u0026nbsp;\u003c/p\u003e\r\n\r\n\u003cp\u003eDe vlinder is een ondefinieerbaar ding waarvan de \u0026#39;ogen\u0026#39; duidelijk en herkenbaar zijn. Net zoals in \u003cem\u003eUntitled\u003c/em\u003e (1979) het motief van de poort heerst zijn het hier de \u0026#39;ogen\u0026#39;, als \u0026#39;twee omzoomde karbonkels\u0026#39; die opnieuw het vrouwelijke evoceren en reflecteren aan de zoektocht naar de \u003cem\u003evrijheid\u003c/em\u003e.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp\u003eCe dessin au fusain d\u0026rsquo;une apparition organique soul\u0026egrave;ve de nombreuses questions et para\u0026icirc;t \u0026eacute;trange parce qu\u0026rsquo;il s\u0026rsquo;agit en essence d\u0026rsquo;une abstraction de sentiments et d\u0026rsquo;exp\u0026eacute;riences sensorielles. L\u0026rsquo;apparition ressemble \u0026agrave; un papillon et fait penser aux \u0026oelig;uvres pr\u0026eacute;c\u0026eacute;dentes, \u003cem\u003eButterfly of Love\u003c/em\u003e (Boston, 1960), \u003cem\u003eEscapade de Papillon\u003c/em\u003e (Boston, 1961) et\u0026nbsp;\u003cem\u003eButterfly of Tears\u003c/em\u003e (Boston, 1963). Le motif du papillon revient aussi par la suite dans \u003cem\u003eThe Fog in Maine\u003c/em\u003e (Boston, 1974) et dans\u003cem\u003e De droeve vlinder\u003c/em\u003e (Anvers, 1975).\u003c/p\u003e\r\n\r\n\u003cp\u003eSi on applique l\u0026rsquo;analyse des r\u0026ecirc;ves de Freud \u0026agrave; l\u0026rsquo;art contemporain, on peut avancer l\u0026rsquo;hypoth\u0026egrave;se que l\u0026rsquo;artiste se repr\u0026eacute;sente lui-m\u0026ecirc;me en premier lieu dans son \u0026oelig;uvre et que certains sentiments reviennent comme des signes ou des motifs r\u0026eacute;currents. Dans l\u0026rsquo;\u0026oelig;uvre de Cox, ce papillon et d\u0026rsquo;autres animaux mais aussi des coquillages et des fleurs donnent corps \u0026agrave; de telles \u0026eacute;motions.\u003c/p\u003e\r\n\r\n\u003cp\u003eLe papillon est une chose ind\u0026eacute;finissable dont les \u0026laquo;\u0026nbsp;yeux\u0026nbsp;\u0026raquo; sont nets et reconnaissables. Tout comme dans \u003cem\u003eUntitled\u003c/em\u003e (1979) o\u0026ugrave; domine le motif de la porte, ici les \u0026laquo;\u0026nbsp;yeux\u0026nbsp;\u0026raquo;, qui ressemblent \u0026agrave; \u0026laquo;\u0026nbsp;deux escarboucles ourl\u0026eacute;es\u0026nbsp;\u0026raquo;, \u0026eacute;voquent \u0026agrave; nouveau le f\u0026eacute;minin et refl\u0026egrave;tent la qu\u0026ecirc;te de libert\u0026eacute;.\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":1795,"name":"Jan Cox","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}