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In 2013 the collection was reinforced by contributions from the international avant-garde active in our region in the Sixties and Seventies,
Panamarenko, Jan Fabre, Vaast Colson, James Lee Byars, Gordon Matta-Clark, Robert Filliou, Jacques Lizène, Andrei Monastyrski, Hamlet Hovsepi
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Matta-Clark termed his activities and that of the group around him as anarchitecture, a contraction of the concepts anarchy and architecture
With electric grinding discs and chainsaws, Gordon Matta-Clark ‘draws’, as it were, in/on/through walls, beams, ceilings and floors. He hand
Gordon Matta-Clark worked a lot in/with/on derelict slum buildings. In the Sixties and Seventies much of the city of New York was down on it
The films and videos from Gordon Matta-Clark, some on-issued, others recently restored, exist as memories of his performances, his projects i
To keep *Office Baroque* the 'Foundation Gordon Matta-Clark' was founded in 1979. When Matta-Clark died young in 1978, *Office Baroque* appea
Since the end of May 2002, the M HKA has strayed from the beaten track of museum catalogues. The M HKA does not consider a systematic thereof
The M HKA’s contemporary art collection has grown thanks to a combination of acquisitions, donations and long-term loans from various public
Invited by the ICC to come and do something in Antwerp, Matta-Clark reacted enthusiastically. In his first response, he asks only for a ‘spo
“The rings accidentally left behind on a drawing by a teacup, gave me the idea to organize the whole around two semi-circles of slightly diff
At each storey in the office-building, Gordon Matta-Clark made two circular cut-through incisions. In this way, created were various and lar
Why hang things on a wall when the wall itself is so much more a challenging medium? Much of Matta-Clark’s early work consisted of performan
Press items about the demolition of Office Baroque.
In various ways, the ICC played an important part in forming the potential of the collection. Flor Bex aspired to establish a museum in Antwe
Quite conscious of the impermanence of his work, Matta-Clark tried as far as was possible to document his urban interventions, his performanc
