6 European Collections 1956–1986

M HKA, Antwerp Van Abbemuseum, 20.01–06.05.2012 22.01–29.04.2012 Content

Introduction 03 The exhibition 04 Spirits of Internationalism in m hka 06 Artists Curators Works on display Donation Paul Van Hoeydonck Visuals Spirits of Internationalism in Van Abbemuseum 13 Artists Curators Works on display Visuals M hka expects 22 M hka practical 26 M hka partners 28

2 Introduction

L’Internationale

L’Internationale is a European collaboration between four museums and two artists’ archives – M HKA, Van Abbemuseum Eindhoven, MACBA Barcelona, Julius Köller Society Bratislava and the KwieKulik Archive in Warsaw – exchanging works belonging to their collections. Together these institutions dispose of more than 40.000 works of art. During a two yearlong first project, the initiators will look for a new approach to the neo-avantgarde art of the period 1956­–1986, by way of conferences and different exhibitions.

Museum of Affects 26.11.11>29.01.12

On 26 November the second large exhibition of L’Internationale, Museum of Affects opened in , inaugurating at the same time the new Museum of Contemporary Art in Metelkova – a cultural venue, situated in former military barracks in Ljubljana. Museum of Affects was organized by Bart De Baere (director M HKA) and Bartomeu Mari (director MACBA) combining the artworks of five different collections. Venue: Museum of Contemporary Art Metelkova, Ljubljana,

3 The exhibition

Spirits of Internationalism 6 European Collections 1956–1986

The exhibition Spirits of Internationalism opens simultaneously at the Van Abbemuseum in Eindhoven and M HKA in Antwerp. This exhibition takes place in two venues and shows art from six European collections: four museums and two artists’ archives. It presents art made between 1956 and 1986, a period marked by fast economic and technological development, but also by international political tension. Spirits of Internationalism shows how the realities of the Cold War influenced art and changed the meaning of ‘the international’ and ‘the regional’. The exhibition attempts to challenge the simplified image of the ‘Three Worlds’ by showing familiar and less familiar artworks in surprising constellations. It includes work by internationally well-known artists and artists who deserve to be recognised outside of their own region. Spirits of Internationalism is the last part of a series of exhibitions developed within the framework of the European collaborative project L’Internationale. The partners in this project are M HKA in Antwerp, MACBA in Barcelona, Van Abbemuseum in Eindhoven and Moderna Galerija in Ljubljana, as well as the Július Koller Society in Bratislava and the KwieKulik Archive in Warsaw.

Art for a World in Motion

The current crisis in Europe, the shift in geopolitical power from West to East and the Arab Spring compel us to take another look at the second half of the 20th century, when our present world was created. Technology gave us wings with the moon landing, Concorde, television and the computer. A political and economic world order developed with the Cold War, decolonisation, the unification of Europe and the amalgamation of the capital markets. It now appears to be on its last legs. The works in this exhibition were created during this dynamic period. They show us where we are by showing us where we were. Spirits of Internationalism brings us back to the age of mutual nuclear destruction, the Hungarian uprising, the Cuban missile crisis, the construction of the Berlin Wall and America’s war in Vietnam. Such events were accompanied by images spreading across the world like wildfire. Art was by no means isolated from world developments. In Belgium, for instance, Panamarenko built fantastic flying machines (that did not fly), James Lee Byars created the figure of an ‘extra-terrestrial’ from black tulle which was only completely visible from the air, and Jef Cornelis experimented with television as a medium for new art forms. International artists’ communities developed as a result of exhibitions and festivals organised in Paris, Kassel, , Warsaw and Zagreb, to mention only some European examples. Art journals and artists’ books were also important for the art world internationalism of the 1960s and ‘70s, which belies the monolithic image of the open West, the closed East and the ‘developing’ Rest. The black-and-white image of the Cold War world hides thousands of nuances of grey and many undiscovered pearls.

4 Eight ‘Spirits’

Spirits of Internationalism shows a cross-section of visual art from the period 1956–1986 that cannot be divided into central and peripheral positions. Each artist offers his or her own perspective on art and its place in the world. In addition, the exhibition is divided into eight parts, each representing a ‘spirit’ of internationalism. These are: ‘the Concrete’, ‘the Essential’, ‘the Transcendental’, ‘the Subverted’, ‘the (Dis-)Located’, ‘the Universal’, ‘the Engaged’ and ‘the Positioned’. These eight spirits have been retrospectively created to express the tension between the regional and the international in the art of the Cold War period and the tension between the aesthetic or art-specific and the socio-political in the exhibited works. Do artists feel connected to the universal, or do they actually look at concrete matter? Do they seek their salvation in transnational humanity or do they forge close links with their own environment? Do they play the system in an ironic way or do they industriously search for the essence? All these approaches can be found in art from the period 1956–1986. The eight spirits do not serve as a straightjacket for the exhibition, but invite visitors to seek for new connections between well-known and less well-known works.

A European Collection in the Making

L’Internationale is a collaborative venture between four museums and two artists’ archives in six European countries. It connects these collections in a series of exhibitions that demonstrate how the recent cultural heritage can be independent of national boundaries. The ultimate aim is to create a ‘European Collection’, or even a ‘Global Collection’. The participating organisations will not amalgamate into an abstract unified entity, but instead gradually create a sense of interconnectedness between, in the first instance, Antwerp, Barcelona, Eindhoven and Ljubljana. L’Internationale will not become the next ‘conglomerate’ in the museum world, but a network that is both pragmatic and ideologically motivated. The six current partners have in the past two years collaborated on the project 1956–1986. Art from the Decline of Modernism to the Rise of Globalisation., which consisted of four seminars, a conference and three exhibitions, of which Spirits of Internationalism is the last.

On the occasion of the exhibition SPIRITS OF INTERNATIONALISM 6 European Collections 1956–1986, M HKA and Van Abbemuseum publish a special booklet for the visitors. Each work is accompanied by a text. With contributions by Anders Kreuger, Joram Kraaijeveld, Steven ten Thije. Available in the two museums at 1€.

5 Spirits of Internationalism in M Hka Artists

Carl Andre (US), John Baldessari (US), Alighiero e Boetti (IT), Marinus Boezem (NL), Marcel Broodthaers (BE), Stanley Brouwn (SR/NL), Victor Burgin (UK), James Lee Byars (US), André Cadere (RO/FR), Jef Cornelis (BE), Herman de Vries (NL/DE), Luciano Fabro (IT), Dan Flavin (US), Lucio Fontana (Argentina/Italy), Gego (Germany/Venezuela), Grupo de artistas de vanguardia (AR), René Heyvaert (BE), Jenny Holzer (US), Jörg Immendorff (DE), Robert Indiana (US), Donald Judd (US), On Kawara (JP/US), Anselm Kiefer (DE), Yves Klein (FR), Piero Manzoni (IT), Guy Mees (BE), Cildo Meireles (BR), (IT), Robert Morris (US), (US), Michelangelo Pistoletto (IT), Sigmar Polke (DE), Gerhard Richter (DE), Martha Rosler (US), Ed Ruscha (US), Jan Schoonhoven (NL), Nancy Spero (US), Frank Stella (US), Paul Van Hoeydonck (BE), Victor Vasarely (HU/FR), Andy Warhol (US), Lawrence Weiner (US)

Curators

Bart De Baere Bart De Baere studied archeology and history of art. He became director of the Museum of Contemporary Art in Antwerp (M HKA) in 2002. Since its merger with the Centre for Visual Culture in 2003 the M HKA as a film component and is co- publisher of Afterall Journal. He served as chairman of the Flemish Council for Culture, which advises the government on cultural policy. From 1999 till 2001 he was advisor for cultural heritage and contemporary art to the Flemish Minister of Culture. Before that time, he was chairman of the Flemish Council for Museums. From 1986 till 2001 he was curator in the Museum of Contemporary Art in Ghent (now S.M.A.K.) where he organized variaous exhibitions as e.g. This is the show and the show is many things. He organized and curated events for several venues abroad including Documenta IX in Kassel. As consultant for the City of Johannesburg he was involved in establishing a biennial in South Africa. He was a member of the International Advisory Council for the network of Soros Centres for contemporary art in Eastern Europe. Bart De Baere’s writing, theoretical texts and interviews have been featured in a variety of publications, including Linking the Present to the Now, in: Art & Museum Journal, 1994, 6The integrated Museum, in: ‘Stopping the Process?’, NIFKA, Helsinki, 1998 Potentiality and Public Space, Archives as a Metaphor and Example for a Political Culture, in: ’Interarchive’, Verlag der Buchhandlung Walther König, Lüneburg/Cologne, 2002

6 Anders Kreuger Anders Kreuger (born in 1965 in Sweden) is Curator at M HKA, the Museum of Contemporary Art in Antwerp, Belgium, since 2011. From 2007 until 2010 he was Director of the Malmö Art Academy, Lund University, and from 2007 until 2011 he was Curator of Exhibitions at Lunds konsthall, both in Sweden. From 2007 until 2010 Kreuger was also member of the Programme Team for the European Kunsthalle in Cologne. In 2003–2004 he taught at the MA Curating Contemporary Art, Royal College of Art, London. Since 1999 Kreuger has worked as an independent curator, writer, editor and lecturer. He has authored numerous texts, as well as curatorial projects in northern, eastern and western Europe, Russia and the US. In the 1990s he was Director of NIFCA, the Nordic Institute for Contemporary Art, in Helsinki, Finland, and of the Nordic Information Office in Vilnius, Lithuania.

7 Works on display

Carl Andre Jef Cornelis Palisade, 1976 Documenta 4, 1968 Van Abbemuseum, Eindhoven MACBA, Barcelona

John Baldessari James Lee Byars Baldessari sings Lewitt, 1972 World Question Center, 1969 Van Abbemuseum, Eindhoven MACBA, Barcelona Antwerpen 18 april – 7 mei 1969, 1969 Alighiero e Boetti MACBA, Barcelona I quattro moli, 1982 , 1972 Van Abbemuseum, Eindhoven MACBA, Barcelona

Marinus Boezem Herman de Vries Soft Table, 1967 V 71-63, 1971 Van Abbemuseum, Eindhoven Van Abbemuseum, Eindhoven Visual Research, 1970 V 71-69, 1971 Van Abbemuseum, Eindhoven Van Abbemuseum, Eindhoven V 71-70, 1971 Marcel Broodthaers Van Abbemuseum, Eindhoven Gedicht/Poem/Poème–Change/Exchange/ Wechsel, 1973 Luciano Fabro Van Abbemuseum, Eindhoven Arcobaleno, 1980 Tapis de sable, 1974 Van Abbemuseum, Eindhoven Van Abbemuseum, Eindhoven Dan Flavin Victor Burgin Untitled (To a Man, George McGovern), 1972 Zoo/78 VI, 1978 Van Abbemuseum, Eindhoven Van Abbemuseum, Eindhoven Lucio Fontana James Lee Byars Concetto Spaziale: Attese, 1960 Hear TH FI TO IN PH around This Chair, 1978 Van Abbemuseum, Eindhoven Van Abbemuseum, Eindhoven The Golden Tower, 1974 Van Abbemuseum, Eindhoven

André Cadere A 12003000 = 25 = = 3 x 10 = Noir Blanc Rouge, 1978 Van Abbemuseum, Eindhoven

8 Gego Paul Van Hoeydonck Sketch, 1962 Embedded Cities, 1958 MACBA, Barcelona M HKA (Long-term loan from Fundación Gego) Plexi relief, 1960-1961 Sketch 65/3, 1965 M HKA MACBA, Barcelona Plexi relief, 1960-1961 (Long-term loan from Fundación Gego) M HKA Untitled, 1969 City of the Future, 1969 MACBA, Barcelona M HKA (Long-term loan from Fundación Gego) Fallen Astronaut, 1971 Untitled, 1969 M HKA MACBA, Barcelona (Long-term loan from Fundación Gego) Jörg Immendorff Reticulárea, 1969 Brechtzyklus, 1976 MACBA, Barcelona Van Abbemuseum, Eindhoven (Long-term loan from Fundación Gego) Robert Indiana Grupo de artistas de vanguardia The Red Diamond American Dream #3, 1962 Tucumán Arde Archive, 1966-1968 Van Abbemuseum, Eindhoven MACBA, Barcelona U.S.A. 666, 1971 Van Abbemuseum, Eindhoven René Heyvaert Untitled, ca. 1978 Donald Judd M HKA Untitled (Progression), 1969 Untitled, ca. 1978 Van Abbemuseum, Eindhoven M HKA Untitled, ca. 1978 On Kawara M HKA Lat. 31°25’N, Long. 8°41’E, 1965 Untitled, ca. 1978 Van Abbemuseum, Eindhoven M HKA Untitled, ca. 1978 Anselm Kiefer M HKA Märkische Heide, 1974 Van Abbemuseum, Eindhoven Jenny Holzer Truisms, 1983 Yves Klein Van Abbemuseum, Eindhoven Monochrome bleu, sans titre (Ikb 63), 1959 Van Abbemuseum, Eindhoven

Piero Manzoni Tavole di accertamento, 1958–1960 Van Abbemuseum, Eindhoven Corpo d’aria, 1959–1960 MACBA, Barcelona

9 Guy Mees Gerhard Richter Espace perdu, 1964 Abstraktes Bild (Nr. 421), 1977 M HKA Van Abbemuseum, Eindhoven

Cildo Meireles Martha Rosler Inmensa, 1982 Semiotics of the Kitchen, 1975 MACBA, Barcelona Van Abbemuseum, Eindhoven Martha Rosler Reads Vogue, 1982 Mario Merz Van Abbemuseum, Eindhoven Senza titolo, 1984 Van Abbemuseum, Eindhoven Edward Ruscha Pure Ecstasy, 1974 Robert Morris Van Abbemuseum, Eindhoven 9 H-Shapes, 1968 Sand in the Vaseline, 1974 Van Abbemuseum, Eindhoven Van Abbemuseum, Eindhoven

Bruce Nauman Jan Schoonhoven Elke Allowing the Floor to Rise Up Over Her, Groot kwadratenreliëf, 1964 Face Up, 1973 Van Abbemuseum, Eindhoven Van Abbemuseum, Eindhoven R 68-6 (Reliëf VI), 1968 Tony Sinking into the Floor, Face Up and Face Van Abbemuseum, Eindhoven Down, 1973 R 69-18, 1969 Van Abbemuseum, Eindhoven Van Abbemuseum, Eindhoven Pulling Mouth, 1969 Van Abbemuseum, Eindhoven Nancy Spero Artaud Painting: From this pain..., 1969 Michelangelo Pistoletto MACBA, Barcelona Divisione e moltiplicazione dello specchio, Artaud Painting: That thick hemp in the neck of 1978–1979 the priest about to be hung, 1969 M HKA MACBA; Barcelona Scultura Nera, 1984 Artaud Painting: Un noeud d’asphyxie centrale, Van Abbemuseum, Eindhoven 1970 MACBA, Barcelona Sigmar Polke Artaud Painting: Une Fatigue de commencement Höhere Wesen befehlen: Rechte obere Ecke du monde, 1970 schwarz malen!, 1969 MACBA, Barcelona Van Abbemuseum, Eindhoven Goldklumpen, 1982 Frank Stella Van Abbemuseum, Eindhoven Tuxedo Junction, 1960 Ohne Titel, ca. 1978 Van Abbemuseum, Eindhoven Van Abbemuseum, Eindhoven

10 Victor Vasarely Keiho, 1956 Van Abbemuseum, Eindhoven

Andy Warhol Mao Tse Tung, 1972 Van Abbemuseum, Eindhoven Electric Chair, 1971 Van Abbemuseum, Eindhoven

Lawrence Weiner ABOVE BEYOND BELOW, 1986 Van Abbemuseum, Eindhoven

11 Donation

During the opening of the exhibition at M HKA, artist Paul van Hoeydonck (°1925, Antwerpen, Belgium) will officially donate the work Fallen Astronaut, (1971) to thet M HKA.

12 Visuals M HKA download via www.muhka.be

Pere Noguera, Map of Europe, 1978, collection MACBA photo Rocco Ricci Paul Van Hoeydonck, Fallen Astronaut, 1972 photo M HKA Miralles Fina, Mar de hierba, 1973 collection MACBA Nancy Spero, Artaud Painting – Une fatigue de commencement du monde, 1970 collection MACBA Lucio Fontana, Concetto Spaziale Attese, 1960 collection Van Abbemuseum Andy Warhol, Mao Tse Tung, 1972 collection Van Abbemuseum

13 Spirits of Internationalism in Van Abbemuseum Kunstenaars

Alain Arias-Misson, James Lee Byars, Luc Deleu, Lili Dujourie, Esther Ferrer, Gego (Gertrud Goldschmidt), Jeff Geys, Tomislav Gotovac, Grup de Treball, Tibor Hajas, Július Koller, KwieKulik, Fina Miralles, Francois Morellet, Antoni Muntadas, OHO, Panamarenko, Józef Robakowski, Jan Schoonhoven, Mladen Stilinović, Toon Tersas. Curators

Charles Esche Charles Esche (1962, Harrogate, England) is a curator and writer. Since 2004, he is Director of van Abbemuseum, Eindhoven and co-director of Afterall Journal and Books based at Central St.Martins College of Art and Design, London. He is a visiting lecturer at a number of European academies, a regular advisor at the Rijksakademie, Amsterdam and a board member of Manifesta. In the last years, he was involved as a curator in the 5th U3 triennial in Ljubjana, Slovenia, the 3rd Riwaq Biennale, Ramallah, Palestine, 2009 together with Reem Fadda, 2nd Riwaq Biennale 2007ah with Khalil Rabah; the 9th Istanbul Biennial 2005 with Vasif Kortun, Esra Sarigedik Öktem and November Paynter and the Gwangju Biennale 2002 in Korea with Hou Hanru and Song Wang Kyung. Before that he was co-curator of ‘Tate Triennial: Intelligence’ at the Tate Britain, London and ‘Amateur – Variable Research Initiatives’ at Konstmuseum and Konsthall, Göteborg, both in 2000. From 2000-2004 he was Director of the Rooseum Center for Contemporary Art, Malmö/ From 1998- 2002 he organised the international art academic research project called ‘protoacademy’ at Edinburgh College of Art. From 1993-1997 he was Visual Arts Director at Tramway, Glasgow. His writing about institutional possibilities and policy are useful means to create a new image of the possible relation between art and social change. He is a board member of the Emanuel Hoffmann Foundation in Basel and of MUSEON, Bolzano and gives many lectures on (art) academies and institutes around the world. In 2011 he won the Princess Margriet Award, handed out by the European Cultural Foundation, an award for cultural change-makers who demonstrate the unique role of the arts in challenging cultural divisions in Europe.

14 Steven ten Thije Steven ten Thije (1980) is research curator, working on a PhD at the University in Hildesheim supported by the Van Abbemuseum in Eindhoven. His subject is a genealogy of the modern curator. As curator he is currently working on Spirits of Internationalism (opening Jan 2012), part of L’Internationale and was part of the team that organized Play Van Abbe (2009 till 2011). Aside of this he is coordinator of The Autonomy Project and has published various articles and reviews, among others in Exhibiting the New Art, ‘Op Losse Schroeven’ and ‘When Attitudes Become Form’ 1969, (2010). He has studied art history and philosophy at the University of Amsterdam.

15 Works on display

Alain Arias-Misson Paul De Vree The Vietnam Public Poem, Brussels, 1967, Hysteria makes History, 1973 1967-2011 M HKA M HKA Parlement, 1973 The G D Public Poem, Brussels, 1968, 1968-2011 M HKA M HKA Kissinger, 1972 Poemx, the Baptismal Public Poem, Knokke, M HKA 1970, 1970-2011 Who’s afraid of Virginia Woolf, 1973 M HKA M HKA The Chomsky Generative Grammar Public Political Poem: (w)affe, 1971 Poem, Brussels, 1972, 1972-2011 M HKA M HKA Staking 2, 1974 M HKA Stuart Brisley & Ken McMullen Wat kapseist niet?, 1980 Being and Doing, 1984 M HKA Van Abbemuseum, Eindhoven Lili Dujourie James Lee Byars Hommage à ... III, 1972 Extra Terrestrial (Shadow of an Extra Terrestrial Depot M HKA/ Ministerie van de Vlaamse Man) and documentation, 1976 Gemeenschap M HKA Effen spiegel van een stille stroom, 1976 Depot M HKA/ Ministerie van de Vlaamse Luc Deleu Gemeenschap Schaal en perspektief, 1980 Passion de l’été pour l’hiver (Oostende), 1981 Depot M HKA/Ministerie van de Vlaamse Depot M HKA/ Ministerie van de Vlaamse Gemeenschap Gemeenschap Project for International Dunghill, 1974 M HKA Esther Ferrer Proposal for the Recycling of the ‘SS France’, 1970 Silla Zaj, 1974 M HKA MACBA. Museu d’Art Contemporani de Proposal to Use Existing Rockets to Shoot Barcelona (Nuclear) Waste to the Sun, 1975 M HKA Proposal for Naked Olympic Games in Montreal, 1976 M HKA

16 Gego Tibor Hajas Untitled, 1970 Flesh Painting II, 1978 1979 MACBA. Museu d’Art Contemporani de Flesh Painting III Barcelona Image Whipping I Untitled, 1970 Image Whipping I, Detail 1 MACBA. Museu d’Art Contemporani de Image Whipping I, Detail 2 Barcelona Image Whipping I, Detail 3 Kleine structur 1, 1965 Image Whipping I, Detail 4 MACBA. Museu d’Art Contemporani de Surface Torture I Barcelona Image Whipping III Verticales, cruz de tubus de cobre, 1970 Surface Torture III MACBA. Museu d’Art Contemporani de Excercises – Tumo I, Detail 1 Barcelona Excercises – Tumo I, Detail 2 Untitled, 1970 Excercises – Tumo II, Detail 12 MACBA. Museu d’Art Contemporani de Extinction, Detail Barcelona Moderna galerija, Ljubljana / Museum of Modern Untitled, 1970 Art, Ljubljana MACBA. Museu d’Art Contemporani de Barcelona Július Koller U.F.O. naut J.K. (U.F.O.), 1970 Jef Geys The Július Koller Society ABC, école de Paris, 1959 1961 U.F.O. nautical Photo Operation A, 1970 M HKA The Július Koller Society Depot M HKA/ Ministerie van de Vlaamse U.F.O. nautical Photo Operation B, 1970 Gemeenschap The Július Koller Society U.F.O. nautical Photo Operation C, 1970 Tomislav Gotovac The Július Koller Society Showing the Elle Magazine / Het tonen van het U.F.O. nautical Photo Operation D, 1970 tijdschrift Elle, 1962 The Július Koller Society Moderna galerija, Ljubljana / Museum of Modern U.F.O. nautical Photo Operation E, 1970 Art, Ljubljana The Július Koller Society U.F.O. nautical Photo Operation F, 1970 Grup de Treball The Július Koller Society Treball collectiu que consisteix a verificar la Universal Physical Culture Operation Defensive distribució de 44 professions entre 113 persones (U.F.O.) segons una nota apareguda últimament a la The Július Koller Society premsa, 1973 Universal Physical Culture Operation (U.F.O.) 2 MACBA. Museu d’Art Contemporani de The Július Koller Society Barcelona Object Self portrait (U.F.O.) Treball collectiu sobre els artistes participants The Július Koller Society a Documenta 4 (1968) i Documenta 5 (1972) a J.K. Mysteries of Our Century, 1970 Kassel, 1973 The Július Koller Society MACBA. Museu d’Art Contemporani de Beware Plaster Falling Off!, 1970 Barcelona The Július Koller Society

17 Universal Factographical Occupation of the First The Július Koller Society Open Studio (U.F.O.) A, 1970 Locating Fictive Signification (U.F.O.), 1978 The Július Koller Society The Július Koller Society Universal Factographical Occupation of the First Universal Cultural Futurological Operation Open Studio (U.F.O.) B, 1970 (U.F.O.), 1979 The Július Koller Society The Július Koller Society J.K. U.F.O. Gallery, 1971 Universal Folkloristic Tradition (U.F.O.), 1978 The Július Koller Society The Július Koller Society Project: Ping Pong Monument, 1971 Flying Factographical Object 2 (U.F.O.), 1986 The Július Koller Society The Július Koller Society Universal Physical Culture Operation (U.F.O.), Lecturing Cultural Situation (U.F.O.), 1983 1972 The Július Koller Society The Július Koller Society Universal Fictive Operation, U.F.O. Gallery – AL Art of Life Gallery Ganek (U.F.O.), 1983 The Július Koller Society The Július Koller Society Universal Physical Culture Operation (U.F.O.) Sending (U.F.O.), 1983 (Tennis Painting Painting Tennis), 1972 The Július Koller Society The Július Koller Society Archeological and Contemporary Monument Art No!, 1970 (U.F.O.), 1983 The Július Koller Society The Július Koller Society ANO / YES Active Neutral Oposition, 1971 Human and Cosmos 1 (U.F.O.), 1981 The Július Koller Society The Július Koller Society NIČ / NOTHING Unofficial Information on Human and Cosmos 2 (U.F.O.), 1981 Timespace, 1971 The Július Koller Society The Július Koller Society Gallery Cultural Situation (U.F.O.), 1982 KO Concepts of Informing, 1971 The Július Koller Society The Július Koller Society Meditation (U.F.O.), 1983 Anti attractions, 1971 The Július Koller Society The Július Koller Society Artwork (U.F.O.), 1975 Universal Futurological Orientation (U.F.O.), The Július Koller Society 1971 Suitcase Travelling Object, 1983 1984 The Július Koller Society The Július Koller Society Communism, 1971 Junk Culture, 1966 The Július Koller Society The Július Koller Society Utopical Photo Operation (U.F.O.), 1975 Orientation t 2, 1956 The Július Koller Society The Július Koller Society U.F.O. Gallery \ U.F.O. Galerie, 1971 U.F.O., 1977 The Július Koller Society The Július Koller Society Universal Futurological Original (U.F.O.), 1978 U.F.O. Undershirt, 1970s The Július Koller Society The Július Koller Society Universal Futurological Questionmark (U.F.O.), U.F.O. Gallery Ganek Gallery for 1978 Cosmohumanist Culture, 1971 1981-1983 The Július Koller Society The Július Koller Society Universal Folkloristic Object (U.F.O.), 1978

18 J.K. U.F.O., 1983 Pere Noguera The Július Koller Society Mapa d’Europa, 1979 U.F.O. (Universal Fantastic Cleaner), 1977 MACBA. Museu d’Art Contemporani de The Július Koller Society Barcelona U.F.O. (Unidentified Football Objects), 1980s Mapa d’Espanya, 1979 The Július Koller Society MACBA. Museu d’Art Contemporani de Atlas of Fantastic Science (Visual Archive), 1976- Barcelona 1982 The Július Koller Society OHO U.F.O. Bermudas Triangle, undated (1975 1979?) Razstava v kranju \ Opening en sluiting van de The Július Koller Society tentoonstelling in Kranj, 1969 Question Mark Bag Moderna galerija, Ljubljana / Museum of Modern The Július Koller Society Art, Ljubljana Question Mark Belt Matchbox labels, 1968 The Július Koller Society Moderna galerija, Ljubljana / Museum of Modern Mirror Object, 1963 Art, Ljubljana The Július Koller Society Mt. Triglav, 1968 ………………………., 1963 Moderna galerija, Ljubljana / Museum of Modern The Július Koller Society Art, Ljubljana

Zofia Kulik OHO & Milenko Matanovič Activities with Dobromierz, 1972-1974 Project, 1970 KwieKulik / Zofia Kulik Moderna galerija, Ljubljana / Museum of Modern Art, Ljubljana Fina Miralles Happening The Passion (or Biblical Stories), 1968 Mar de hierba, 1973 Moderna galerija, Ljubljana / Museum of Modern MACBA. Museu d’Art Contemporani de Art, Ljubljana Barcelona Mt. Triglav, 1968 Moderna galerija, Ljubljana / Museum of Modern François Morellet Art, Ljubljana Néon moderne en état de marche, 1973 Chair, Cathedral, passers-by, 1968 Van Abbemuseum, Eindhoven Moderna galerija, Ljubljana / Museum of Modern 10 screenprints over 10 years (1952 1961), Album Art, Ljubljana Plura Edizioni Milan, 1975 A white line on black, 1969 Van Abbemuseum, Eindhoven Moderna galerija, Ljubljana / Museum of Modern Untitled, 1975 Art, Ljubljana Van Abbemuseum, Eindhoven

Antoni Muntadas Emission Reception, 1973 M HKA On Subjectivity, 1978 MACBA. Museu d’Art Contemporani de Barcelona

19 OHO & David Nez 62-01, 1962 Simultaneous-symmetrical realization on two Van Abbemuseum, Eindhoven locations, 1970 61-15, 1961 Moderna galerija, Ljubljana / Museum of Modern Van Abbemuseum, Eindhoven Art, Ljubljana 60-13, 1960 A black line on white, 1969 Van Abbemuseum, Eindhoven Moderna galerija, Ljubljana / Museum of Modern 62-22, 1962 Art, Ljubljana Van Abbemuseum, Eindhoven

OHO & Marko Pogačnik Józef Robakowski Drawings made after Indigo drawings - Button The Market, 1970 series (1-6), 1967 Moderna galerija, Ljubljana / Museum of Modern Moderna galerija, Ljubljana / Museum of Modern Art, Ljubljana Art, Ljubljana Tomaž Šalamun OHO & Marko Pogačnik & Iztok Geister Hay, Corn Husks and Bricks, 1969 9 cards, 1968 Moderna galerija, Ljubljana / Museum of Modern Tomaž Šalamun & Marko Pogačnik Art, Ljubljana The OHO group man, 1970 Moderna galerija, Ljubljana / Museum of Modern OHO & Marko Pogačnik & David Nez Art, Ljubljana Project Group schooling in Čezsoča 91-4, 1970 Moderna galerija, Ljubljana / Museum of Modern Jan Schoonhoven Art, Ljubljana R 70-2, 1970 Van Abbemuseum, Eindhoven OHO & Andraž Šalamun Night, bow, burning arrows, 1970 Mladen Stilinović Moderna galerija, Ljubljana / Museum of Modern Artist at Work, 1978 Art, Ljubljana Van Abbemuseum, Eindhoven 23 kunstenaarsboeken, 1972 2006 Panamarenko Van Abbemuseum, Eindhoven Prova-car, 1967 Depot M HKA/ Ministerie van de Vlaamse Toon Tersas Gemeenschap Pagina uit het boek ‘Forum Triangulare’, 1977 100.000 revoluties / Minute Jet Turbine, 1976 M HKA M HKA OMO wast niet alles wit, 1966 Atelier Depot M HKA/ Ministerie van de Vlaamse M HKA Gemeenschap Portretten uit de ‘Koude Oorlog’, 1968 Henk Peeters M HKA Rooktekening, 1961 Van Abbemuseum, Eindhoven Rooktekening, 1961 Van Abbemuseum, Eindhoven

20 Visuals Van Abbemuseum download via www.vanabbemuseum.nl/en/press

Pere Noguera, Mapa d’Europa, 1979. Collection MACBA. © Pere Noguera. Photo: Rocco Ricci Morellet, Album Plura, Edizione 3, 1952-1961. Collection Van Abbemuseum. Photo: Peter Cox Panamarenko, prova car, 1967. Collection / Photo: M HKA. James Lee Byars, Extra terrestrial (Shadow of an extra terrestrial man), 1976. Photo: iCC Archief. Antonio Muntadas, Emission-reception, 1976. Collection MACBA Fina Miralles, Mar de hierba, 1973. Collection MACBA.

21 M HKA expects

Chantal Akerman Too Far, Too Close 10.02.12>10.06.12 Opening 09.02.12 om 20:30

The M HKA is holding the very first large-scale retrospective of the Belgian film-maker and artist Chantal Akerman, who has now lived in Paris for many years. It is also the first time her work has been shown in Belgium since her exhibition at the Centre for Fine Arts in Brussels in 1995. Akerman is one of the most influential film-makers of her generation and has long been a feminist icon. She was able to establish this reputation with her early masterpiece Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles. Since the mid-nineties, however, she has also been increasingly active as an artist, and her film and video installations have been shown at the Venice Biennale, Documenta 11 and elsewhere. The exhibition at the M HKA will focus mainly on this latter aspect of her work and will be accompanied by an ambitious monograph.

22 LONELY AT THE TOP Nieuwe Kunst in Antwerpen 1958-62

In 2005 the M HKA held an exhibition called ‘Dear ICC. Aspects of contemporary art in Belgium 1970-1985’, which resulted from research into this period by the art historian Johan Pas. This research is now being extended in a new series of LATT exhibitions on the situation of contemporary art – meaning the avant-garde and new art – in Antwerp in the 50s and 60s. This series revolves around the G58 group of avant-garde artists (the ‘G’ stands for ‘group’ and the 58 refers to the year they held their first exhibition) and consists of five instalments covering the period when G58 played a part in contemporary art in Antwerp – their titles refer to five of G58’s exhibitions and the accompanying catalogues. Each instalment includes a number of works of art from the exhibitions concerned, combined with such documentation as photos of installations, catalogues and other printed matter, press articles and so on. Each instalment is also linked to the work of a young Belgian artist whose work fits in with it.

‘the myth of the attic’ 10.02>18.03.2012 Insert by Zin Taylor ‘must we teach the blind to see?’ 30.03>13.05.2012 Insert by Freek Wambacq ‘creating completely new media’ 25.05>02.09.2012 Insert by Bart Stolle ‘center for contemporary artistic expressions’ 14.09>25.11.2012 Insert by Nadia Naveau ‘but seeing itself’ 07.12.12>10.02.2013 Insert by Boy Stappaerts

The exhibitions are realised in cooperation with Jan Ceuleers, Ronny Van De Velde and M HKA.

23 Vrielynck Collectie #2 Zoe Beloff – The Infernal Dream of Mutt and Jeff – An Installation 17.02>03.06.2012 Opening 16.02.12 om 20:00

Zoe Beloff (Edinburgh, Scotland, 1958) is the second artist to be invited to create an intervention in the Vrielynck Collection at the invitation of the M HKA and the curator Edwin Carels (KASK/ HoGent). Zoe Beloff looks for ways of visualising the mind’s unconscious processes and tries to connect them to the technology of the moving image. She is not interested in the technology, but in the psychology that underlies it – she calls it ‘the dream life of technology’. The basic idea behind The Infernal Dream of Mutt and Jeff was the industrial and educational films of the 40s, 50s and 60s that Beloff found at the Baruch College in Manhattan: ‘the Powerpoint presentations of the period’ as she calls them. Her installation consists of a projected video triptych in which she seamlessly combines newly-filmed passages with historical documentaries. She uses a copy of the original set to give a context to items from the Vrielynck Collection that were manufactured to make this sort of documentary, such as 16mm cameras and projectors by Bell and Howell, Auricon and Ampro. Venue: 4th floor FotoMuseum, Waalsekaai 47, Antwerp

Tracings Similarities and dissonants 01.03>01.04.2012 Opening 29.02.12 om 18:00

Bie Michels’ intention in her paintings, installations and videos is to give expression to inconspicuous things, simple stories, subtle feelings and minor actions in which she experiences a certain grandeur. TRACINGS Similarities and Dissonants is the result of a recycling project she started at the Recycling Centre in Merksem in 2010, where all the items picked up in Antwerp and surroundings are collected together, sorted and repaired and then distributed to the various Recycling Shops in the city. She seeks out the stories behind the objects that pass through the warehouse and those of the people who work there – people from a variety of social and ethnic backgrounds. She asks such questions as: ‘Does an object have a soul?’ and ‘When does an object die?’ She asks the same questions of a number of works of art selected from the M HKA collection. In TRACINGS the videos and photos that Michels shot as part of the project are shown alongside the selected works from the M HKA collection. Venue: Kroonstraat 166, Borgerhout

24 Jimmie Durham A Matter of Life and Death and Singing 25.05.12>18.11.12

In spring 2012 the M HKA will be presenting a major retrospective of the work of Jimmie Durham. This artist, born in Arkansas, settled permanently in Europe in 1994 after a turbulent period in which he alternated his artistic activities with a life as an activist for the American Native Indian movement. His work is both profound and accessible, political and personal, both ‘of the moment’ and outside of all current trends. He raises incisive questions about our existence and has had a substantial influence on several generations of artists, curators, theorists and art lovers all over the world. The M HKA is showing the most complete survey ever of his work. This exhibition looks exhaustively at his activities as an activist, essayist, poet, performance artist and sculptor and devotes plenty of attention to work from the sixties and documentary material, neither of which has ever been seen in Europe before. After the M HKA, the show will go on to several venues in Europe and then to Mexico.

25 M HKA practical

M HKA Museum of Contemporary Art Antwerp Leuvenstraat 32 2000 Antwerpen T + 32 (0)3 260 99 99 E [email protected] www.muhka.be

For more information and photographs, please visit > www.muhka.be/pers > ensembles.mhka.be > www.vanabbemuseum.nl/en/press

Or contact M HKA Kathleen Weyts, Head of Education & Communication T +32 (0)3 260 80 97 M +32 (0)485 795 332 E [email protected] M HKA Rita Compère, Press T +32 (0)3 260 99 91 M +32 (0)486 510 549 E [email protected] Van Abbemuseum Ilse Cornelis, Marketing, Communication & Press T +31 (0)40 238 10 19 M + 31 (0)612 995 794 E [email protected]

Opening hours TUE>WED & FRI>SUN 11:00>18:00 THU 11:00>21:00

Entrance €8 Reduction: €4 (60+ / groups of 10 or more), €1 (-26), free entrance (-13 / ICO M)

On Thursday evenings (18:00>21:00) entrance €1 for everyone

26 Reservations MON>FRI 9:00>12:00 en 13:00>17:00 T + 32 (0)3 260 99 90 [email protected] www.muhka.be

Opening hours library TUE>FRI 11:00>17:00 T + 32 (0)3 260 99 98

Opening hours M HKAFE Gratis toegang tot het M HKAFE en de 5de en 6de verdieping TUE>WED & FRI>SUN 11:00>18:00 THU 11:00>21:00 (kitchen 12:00>16:00)

Public transport Antwerp-Berchem: tram 8 Antwerp-Central: bus 23 Antwerp-Zuid: tram 4 of 24 www.delijn.be / www.nmbs.be

By car www.antwerken.be

27 M HKA partners

M HKA is an initiative of the Flemish Community and supported by the Province of Antwerp, the City of Antwerp, the National Lottery, Akzo Nobel Decorative Coatings – Levis and Klara, Cobra

Evonik Degussa Antwerpen, Duvel Moortgat, Groep Van Roey N.V., Hiscox Verzekeringen, Leopold Hotel Antwerp, McKinsey & Company, Inc., Vooruitzicht

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