Collecting as a Form of Engagement: Art and Critical Thought from the 1970s–1990s in Ghent
Exhibition view of 'The Collection Herbert', Herbert Foundation – 106, 2024, with Mario Merz, 'Accelerazione = sogno, numeri di Fibonacci al neon e motocicletta fantasma' (1972) and Luciano Fabro, 'Italia vota (La zattera Italia)' (1983). Photo by Kristien Daem
Herbert Foundation is a space for contemporary art in Ghent, founded by Annick and Anton Herbert. Visitors are immersed in artists’ ideas within an idiosyncratic and radical collection. We offer a changing programme of exhibitions and events that explore this collection, but also situate it in the here and now. Herbert Foundation’s unique heritage site occupies a peaceful, green and sheltered terrain in the city centre.
In 1973, the purchase of Carl Andre’s 64 Lead Square (1969) marked the beginning of Anton and Annick Herbert’s collection and archive. Over the next thirty years, it expanded to include the work of some fifty international artists. “We couldn’t not collect it”, they said, “our interest in contemporary art and collecting has always been an intertwined process.”
Exhibition view of 'The Collection Herbert', Herbert Foundation – 106, 2023, with Carl Andre, 'Henge on 3 Right Thresholds (Meditation on the Year 1960)' (1971), '64 Lead Square' (1969), 'Equivalent III' (1969), Bruce Nauman, 'Sex and Death' (1985) and Donald Judd, 'Untitled' (1989). Photo by Kristien Daem
Exhibition view of 'It is… it isn’t…', Herbert Foundation – 106, 2022, with Robert Ryman, 'Agent' (1983), Carl Andre, '64 Lead Square' (1969) and Donald Judd, 'Untitled' (1974). Photo by Philippe De Gobert
Exhibition view of 'The Collection Herbert', Herbert Foundation – 106, 2023, with Sol LeWitt, 'Incomplete Open Cube, 6/1, 8/10, 8/19, 8/22, 9/4, 10/1' (1973-1974). Photo: Kristien Daem.
Annick and Anton started their collection in the 1970s. From the beginning on, they sought out critical thinkers who questioned the world around them. The Foundation today holds the work of artists representing such international movements as Conceptual Art, Minimal Art and Arte Povera, but also the multimedia art of the 80s and 90s.
“For us, it was more important to be part of a group that wanted new situations in the art world and beyond. 1968 brought about huge mental, cultural and political changes. Collecting this group of artists was not about possession of the works, but an appropriate way of participating in a social structure. If we wanted to take part, we had to become fully engaged in both the intellectual and material aspects. We collected because we wanted and needed these works of art around us, like books, and our involvement was intensive” – Annick and Anton Herbert
Annick and Anton Herbert at documenta 5, Kassel, 1972, with Ben Vautier, 'Kunst ist überflüssig' (1972)
Annick & Anton Herbert pictured inside Dan Graham, 'Public Space / Two Audiences' (1976). Photo by Reiner Lautwein
Exhibition view of 'Time Extended / 1964 – 1978. Part III', Herbert Foundation – Loods, 2018, with Lawrence Weiner, 'GREEN AS WELL AS BLUE AS WELL AS RED #289, RED AND GREEN AND BLUE MORE OR LESS #290, RED OVER AND ABOVE GREEN OVER AND ABOVE BLUE #291, RED IN RELATION TO GREEN IN RELATION TO BLUE #292, RED IN LIEU OF GREEN IN LIEU OF BLUE #293' (1972), Gilbert & George, 'Inca Pisco (A Drinking Sculpture)' (1973) and Richard Long, 'Slate Circle' (1979). Photo by Yuri van der Hoeven
Exhibition view of 'The Collection Herbert', Herbert Foundation – 106, 2023, with Jan Vercruysse, '(Comme dans une) Nature Morte' (1987), 'M (M9) (1993), M (M4)' (1992). Photo by Kristien Daem
In addition to artworks, they also assembled a wealth of archival material. This included artists’ books, journals, invitations, posters, films and music. Their collection is thus one of this period’s most comprehensive and coherent.
Herbert Foundation holds works and documents from Marcel Broodthaers, Bruce Nauman, Daniel Buren, Carl Andre, Sol LeWitt, Donald Judd, Gilbert & George, Gerhard Richter, Dan Graham, Jan Dibbets, Luciano Fabro and Mario Merz. The second generation, which became part of the collection from the 1980s onwards, includes Thomas Schütte, Reinhard Mucha, Jan Vercruysse, Franz West, Mike Kelley, Martin Kippenberger and Heimo Zobernig, amongst others.
Exhibition view of 'The Collection Herbert', Herbert Foundation – 106, 2024, with Marcel Broodthaers, 'Le Corbeau et le Renard', 1972 (Edition B). Photo by Kristien Daem
Exhibition view of 'Distance Extended / 1979 – 1997. Part II', Herbert Foundation – Loods, 2021, with Mike Kelley, 'Heart and Flowers' (1988) and 'SS Cuttlebone' (2000). Photo: Yuri van der Hoeven
Exhibition view of 'Hanne Darboven – Welttheater', Herbert Foundation – Loods, 2023, with Hanne Darboven, 'Welttheater 79' (1979), 'Quartett 88' (1990) and a selection of documents by the artist. Photo: Kristien Daem
Donald Judd, 'Untitled' (1984), Raas van Gaverestraat 106. Photo by Philippe De Gobert
Exhibition view of 'Sumptuous Allegories of Nothingness: the book adaptations of Rodney Graham and Avis au lecteur: the bookworks of Jan Vercruysse', Herbert Foundation – Loods, 2024. Photo by Kristien Daem
Exhibition view of 'Distance Extended / 1979 – 1997. Part I', Herbert Foundation – Loods, 2019, with Thomas Schütte, 'Kollektion' (1980), 'Studio II' (1983) and 'Studio I' (1983). Photo by Yuri van der Hoeven
Exhibition view, 'Distance Extended / 1979 – 1997. Part I', Herbert Foundation – Loods, 2019, with Art & Language, 'Index: The Studio at 3 Wesley Place Painted by Mouth (I)' (1982) and Martin Kippenberger, 'Ohne Titel (Doppelbeinige Laterne)' (1989). Photo by Yuri van der Hoeven
Exhibition view of 'Time Extended / 1964 – 1978. Part III', Herbert Foundation – Loods, 2018, with a selection of posters from the archive. Photo by Yuri van der Hoeven
Exhibition view of 'Distance Extended / 1979 – 1997. Part I', Herbert Foundation – Loods, 2019, with Franz West, 'Ordinary Language' (1995), Martin Kippenberger, 'Selbstporträt' (1992), John Baldessari, 'Two Figures and Two Figures (Masked) with Blue Shape' (1990) and posters by Martin Kippenberger (1985-1997). Photo: Yuri van der Hoeven
Exhibition view of 'It is… it isn’t…', Herbert Foundation – 106, 2022, with Gerhard Richter, '1024 Farben in 4 Permutationen' (1973) and Giulio Paolini, 'Apoteosi di Omero' (1971). Photo: Yuri van der Hoeven
