Lives in Nice (FR), born in Naples (IT).
For more than four decades now French artist Ben Vautier has been operating under his emblematic given name "Ben". He signs off every single work of art with his equally recognizable signature, producing a series of language/sign paintings that have come to define the pseudo-infantilist aesthetic of the Fluxus movement of which he was a founding member. Ben’s ritualized, serial use of both signature and first name certainly aligns his work with that of contemporaries such as Marcel Broodthaers and Piero Manzoni, although his actual interest in the content of what is being written – mottoes, clipped sayings, epigrams, staunch statements, some by now semi-classic – imbues his work with a manifesto-like quality that was conspicuously absent from much Fluxus-inspired language art.
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Ben Vautier - manuscrit p...
Ben, Ben Vautier - manuscrit pour la première internationale ethniste, 1986. Book, ink, paper, 22 x 16.5 cm, 111 p., language : French, publisher : La Différence, Nice.
Er is geen taal zonder ku...
Ben, Er is geen taal zonder kultuur, 1987. Painting, acrylic, canvas, 100 x 100 cm.
Er is geen volk zonder taal
Ben, Er is geen volk zonder taal, 1987. Painting, acrylic, canvas, 100 x 100 cm.
Ik ben, signeer als kunst...
Ben, Ik ben, signeer als kunst: de kasseien, de sneeuw, de auto's, de meeuwen, de wind en U die hier staat en dit leest. Painting, wood, acrylic paint, 122 cm x 242 cm..
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EXTRA MUROS: Visite Arenb...
29 September 2012 - 20 June 2013.
Under the umbrella term Visite, the M HKA – in collaboration with LOCUS, the hub for libraries, cultural and community centres and local cult
EXTRA MUROS: Visite Herze...
03 April 2015 - 03 May 2015.
Under the umbrella term Visite, the M HKA - in collaboration with LOCUS, the nerve centre for libraries, cultural and community centres and l
28 April 2017 - 05 April 2020.
For the first time, the M HKA will be able to present a permanent collection exhibition with iconic masterpieces from Flemish and internation
Ensembles View all
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
"... They cannot be reduced. They’re not representable. The claim of the complexity of their design is irreducible. They never give the impre