{"id":14530,"title":"Jef Verheyen. Window on Infinity","date_begin":"2024-03-23T00:00:00.000+01:00","date_end":"2024-08-18T00:00:00.000+02:00","location":{"readable":"Antwerpen","latitude":null,"longitude":null},"assets":{"poster":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/101/large/EXTRA_MUROS_KMSKA_Jef_Verheyen_TEN_F143.jpg?1722862118","poster_credits":"Photo: Christine Clinckx / M HKA"},"translations":[{"locale":"en","name":"Jef Verheyen. Window on Infinity","short_description":"","description":"\u003cp\u003eSo important to the European art world and yet relatively unknown in Belgium: Flemish artist Jef Verheyen (1932-1984) returns to Antwerp. Forty years after his death, the \u003ca href=\"https://kmska.be/en/jef-verheyen-window-on-infinity\"\u003eKMSKA\u003c/a\u003e presents the first museum solo exhibition of this illustrious modern master in his hometown. A first.\u003c/p\u003e\u003cp\u003eJef Verheyen. Window on Infinity closely follows the evolution of this modern master. We see how he moves from ceramic experiments to painting, constantly refining the medium. In light and dark, in form and color. New archive research reveals how Verheyen bridges the gap between tradition and innovation, between present and future. In search of the essence, in the infinite. Everything to make us look differently and see more. Let that be the exact motto of the KMSKA.\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://tickets.kmska.be/en/verheyen/tickets\"\u003eBook your ticket\u003c/a\u003e\u003c/p\u003e\u003ch3\u003e\u003cbr\u003eMovement, color, and light\u003c/h3\u003e\u003cp\u003eWhen you stand before a work by Verheyen, it seems as if particles, like clouds, softly drift past. All colors between black and white appear in elusive arcs of light and sunbows, rainbows and moonbows, sometimes in diamond shapes, sometimes in a composite composition. In bright colors, Verheyen paints homages to Claude Monet (1840-1926) and Vincent van Gogh (1853-1890), kindred seekers of light.\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\"In both ceramics and my paintings, I tried to achieve a kind of 'essence' beyond the formal.\"\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eContemporary resonance\u003c/h3\u003e\u003cp\u003eThe curators have also invited contemporary artists to cast light on Verheyen’s role as a pioneer of a different way of looking at art. Installations by Ann Veronica Janssens, Kimsooja, Carla Arocha \u0026amp; Stéphane Schraenen and Pieter Vermeersch will intensify visitors’ spatial and visual experience of the exhibition.\u003c/p\u003e\u003cp\u003e\u003ci\u003eJef Verheyen: Window on Infinity\u003c/i\u003e is a collaborative project between two Antwerp partner museums, the KMSKA and M\u0026nbsp;HKA (Museum of Contemporary Art, Antwerp). This exhibition is the result of extensive research performed by M\u0026nbsp;HKA in cooperation with the Jef Verheyen Archive.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eThe last modernist\u003c/h3\u003e\u003cp\u003eAs with many major crises, World War II represents a turning point for the arts. Verheyen and other artists of his generation asked themselves: what is the essence of art? They thought conceptually about art history, fostering a desire to push art further without necessarily rejecting the past. It was about breaking down the partitions between disciplines. Many of his contemporaries left painting, while Verheyen steadfastly stuck to it.\u003c/p\u003e\u003cp\u003eVerheyen felt akin to the pursuit of the conceptual, but at the same time, he nurtured a great love for craft. Yet, Verheyen was a child of his time. The idea of what painting could be had fundamentally changed. Through monochromy, Verheyen evolved towards an artless art. By painting in washed layers without brushstrokes, he deliberately directed the viewer's gaze beyond his paint to the light, to infinity. It was necessary to look beyond the flat surface, to actually see through it—into the void or space. This was partly literal; the space race between the United States and Russia was raging in full force at the time, reflecting a broader societal push towards new frontiers.\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e“I paint to see.”\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003eInitially, Verheyen incorporated his interests into ceramics. Beginning in 1957, his early paintings started to prominently feature circles, loops, half-moon arcs, and spheres. The movement of Abstract Expressionism, particularly evident in the works of young American artists, also served as a significant source of inspiration for him. Jackson Pollock (1912-1956), for instance, adopted the Eastern tradition of engaging with the canvas directly on the ground, akin to making calligraphic marks, which influenced Verheyen's approach.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eMonochromy and identity\u003c/h3\u003e\u003cp\u003eIn 1957, a significant turning point occurred for the 25-year-old Verheyen when he moved to the modern metropolis of Milan. There, he met \u003cstrong\u003eLucio Fontana\u003c/strong\u003e (1899-1968), the Argentinian-Italian painter, sculptor, and theoretician. Verheyen found a soul mate in Fontana, particularly in his \u003ci\u003eConcetto Spaziale \u003c/i\u003eseries, which explored the spatial dimensions of art.\u003c/p\u003e\u003cp\u003eAs early as 1946, Fontana had advocated for a novel approach to time and space in his \u003ci\u003eManifesto Blanco\u003c/i\u003e. Despite the age difference, Verheyen and Fontana found common ground, as evidenced by the letters they exchanged. In Milan, Verheyen also established connections with artists \u003cstrong\u003eRoberto Crippa\u003c/strong\u003e (1921-1972) and \u003cstrong\u003ePiero Manzoni\u003c/strong\u003e (1933-1963), further enriching his artistic journey.\u003c/p\u003e\u003cp\u003eThe impact of Manzoni's achrome art on Verheyen's work was profound, prompting a shift from labyrinthine, cosmic paintings to pure monochromes, painted in a single color, representing a new essence. The black monochrome painting \u003ci\u003eVeil of Mystery \u003c/i\u003e(1958-1959) stands as a pivotal work in this development.\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\"Black has always seemed more matter than white to me. Black is thus matter itself. White is matter separate from matter. Matter-free. Complete space. Black is a dead colour.\"\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003eTo his Milanese friends, Verheyen was hailed as a 'true Flemish artist,' highlighting the international appeal of the Flemish art tradition—an eye-opener for him. Verheyen had already embraced the glazing technique pioneered by Jan van Eyck (1390-1441). With the slogan \u003ci\u003eLigt de universaliteit in de traditie?\u003c/i\u003e' ('Does universality lie in tradition?'), Verheyen and \u003cstrong\u003eEnglebert Van Anderlecht\u003c/strong\u003e (1918-1961) founded the New Flemish School in 1960, aiming to establish Antwerp as a hotspot for the international avant-garde.\u003c/p\u003e\u003cp\u003eOn another note, he began to title his paintings with names like \u003ci\u003eFlemish place \u003c/i\u003eor 'Espace Flamand,' through which Verheyen explored his identity as a Flemish painter. These titles reflect more an idea of Flanders—as he perceived it in the landscapes of Constant Permeke (1886-1952)—rather than specific observations of a place.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eMovement, colour, light\u003c/h3\u003e\u003cp\u003eMonochrome painters believe that pigments by themselves can suggest movement. Pollock must sway his brush to obtain movement. Verheyen, Yves Klein (1928-1962) and co take a different approach to 'movement'.\u003c/p\u003e\u003cp\u003eStanding in front of a work by Verheyen, it seems as if particles, like clouds, seem to slide gently by. It is a kind of static movement, generated by paint and technique. Verheyen sees an echo of this in the colour fields of Mark Rothko (1903-1970).\u003c/p\u003e\u003cp\u003eFrom the early 1960s, Verheyen integrates more colour, and light. If you let a prism refract the light you see a spectrum of colours. The artist believes you don't necessarily have to paint that whole spectrum to create the illusion that those missing colours are there after all. Panchromia, it's called. All the colours between black and white appear in elusive arcs of light and sun, rain and moon arcs, sometimes in diamond shapes, sometimes in a composite composition. In bright colours, Verheyen paints homages to Claude Monet (1840-1926) and Vincent van Gogh (1853-1890), kindred light seekers. Verheyen's light is again more of an idea, a sense, than the light he sees from his studio window, which makes him an abstract artist. He refers to James Ensor (1860-1940), who at a late stage of his life made drawings and paintings in very light pastel tones.\u003c/p\u003e\u003cp\u003eVerheyen feels akin to the pursuit of the conceptual, but at the same time nurtures a great love of craft. Yet Verheyen is a child of his time. The idea of what painting can be has fundamentally changed. Verheyen grows via monochromy towards an artless art, By painting without brushstrokes in washed layers, he deliberately sends the viewer's gaze beyond his paint to the light, to infinity. You have to look beyond the flat surface, actually look through it. Into the void, or space. Partly literally, the space race between the United States and Russia is raging in full force at the time.\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e“The impressionists see the light first, then they feel; I feel first then I see. I believe Monet personified himself with pure colour.”\u003c/p\u003e\u003c/blockquote\u003e\u003ch3\u003e\u0026nbsp;\u003c/h3\u003e\u003ch3\u003eZERO movement \u0026amp; cooperation\u003c/h3\u003e\u003cp\u003eWith his exploration of the phenomenon of 'light', Jef Verheyen connects with the ZERO movement in Italy, Germany, Switzerland, France and the Netherlands. On his painting front, as they get to work with lamps, reflectors and mirrors.\u003c/p\u003e\u003cp\u003eDespite the difference in artistic practice, Verheyen finds companions in the movement to collaborate multimedia with. He reveals himself as a curator and engages his international network for total concepts in which craft, science, art and architecture merge. Jef Verheyen puts post-war Antwerp on the map alongside Milan, Paris, Düsseldorf and Amsterdam.\u003c/p\u003e\u003cp\u003eFontana, Van Anderlecht and Hermann Goepfert (1926-1982) are the dream partners who put their shoulders under the hybrid art forms. Within the group of ZERO artists, it is mainly with Günther Uecker (°1930) that Verheyen builds a close friendship. Brotherly, they organised the open-air exhibition Flemish Landscapes in the countryside in Mullem in 1967. The duo places a large window frame in the landscape to direct the gaze to the sky, as a tangible window to the infinite. It is the complete dematerialisation of art, and one of the most conceptual interventions of Verheyen's career. It does not end with this performance. The artist also creates small versions with titles like Le Vide and Le Plein, and also integrates the 'bounding of nothingness' into his painting.\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\"A window properly placed today can hold more mystery than a thousand candles and two Christ statues.\"\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eZERO International Antwerp\u003c/h3\u003e\u003cp\u003eIn 1979, Jef Verheyen curated the ZERO International Antwerp exhibition at KMSKA. In the following years, the museum bought several works by members of the ZERO movement, often from the artists themselves, including Verheyen. This international ensemble is the last ensemble to be given an integral place in the museum's collection and includes names such as Lucio Fontana and Günther Uecker, Verheyen's friends.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eCathedrals of light and geometry\u003c/h3\u003e\u003cp\u003eAfter experimenting with archetypes, colour and light, Verheyen refocuses his gaze on shapes in those fertile 1960s. He introduces tondos, round paintings, which in Italian art history hang higher than classical paintings. At the same time, the circle is an infinite form, which also has symbolic value in the East. With a triptych like Cathedrals of Light, Verheyen unites his research into colour, light and (the Gothic) form.\u003c/p\u003e\u003cp\u003e'Decreasing light is increasing darkness', and vice versa. For Verheyen, day and night are like the breathing of the world, which he wants to represent. Natural phenomena and the basic elements earth, air, fire and light become his alpha and omega. From those basic elements, he even pours out an experimental film, an early artist film, Essential, which has a place in the expo.\u003c/p\u003e\u003cp\u003eMeanwhile, Verheyen continues to search for the light that is different everywhere. It leads him away from the Flemish landscape to Brazil, Mexico, Spain, Italy. Finally, in 1974, he moves from Antwerp to Provence.\u003c/p\u003e\u003cp\u003eIn mathematics and Greek philosophy, Verheyen finds a basis for harmony and the ideal space. Geometric basic shapes or perspective lines are the foundations of Verheyen's later paintings. Between 1980 and 1984, he transforms, among other things, diamond-shaped mirrors into trompe l'oeils. The shapes seem to float in an unlimited space, like a window on the infinite. The circle is complete.\u003c/p\u003e\u003cp\u003e'Diminishing light is increasing darkness', and vice versa. For Verheyen, day and night are like the breathing of the world, which he wants to represent. Natural phenomena and the basic elements earth, air, fire and light become his alpha and omega. From those basic elements, he even pours out an experimental film, an early artist film, Essential, which has a place in the expo.\u003c/p\u003e\u003cp\u003eMeanwhile, Verheyen continues to search for the light that is different everywhere. It leads him away from the Flemish landscape to Brazil, Mexico, Spain, Italy. Finally, in 1974, he moves from Antwerp to Provence.\u003c/p\u003e\u003cp\u003eIn mathematics and Greek philosophy, Verheyen finds a basis for harmony and the ideal space. Geometric basic shapes or perspective lines are the foundations of Verheyen's later paintings. Between 1980 and 1984, he transforms, among other things, diamond-shaped mirrors into trompe l'oeils. The shapes seem to float in an unlimited space, like a window on the infinite. The circle is complete.\u003cbr\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eContemporary masters\u003c/h3\u003e\u003cp\u003eVerheyen explored a different way of experiencing art, which seems obvious today. But is it? How do artists today deal with the infinite, light or colour? Ann Veronica Janssens, Kimsooja, Pieter Vermeersch and the tandem Carla Arocha-Stéphane Schraenen take up the challenge with dynamic light installations or mirror paintings Just like Verheyen, they break through the boundaries of painting to stimulate the visitor's visual amazement.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eBridge builder\u003c/h3\u003e\u003cp\u003eThe Jef Verheyen Archive found its home at the Centrum Kunstarchieven Vlaanderen (CKV) in the M HKA. From the letters, diaries, essays, manifestos, Verheyen clearly emerges as a bridge builder. With great love for the craft of, for instance, Jan van Eyck, whose two works the KMSKA owns. At the same time, the painter finds the idea more important than the execution. Jef Verheyen. Window on the Infinite shows the usually underexposed conceptual aspects of Verheyen's art, thus acting as a linking figure between the KMSKA and the M HKA, between tradition and innovation.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003ci\u003eJef Verheyen. Window on Infinity\u003c/i\u003e is a collaboration of two Antwerp partner museums, KMSKA and M HKA (Museum voor Hedendaagse Kunst Antwerpen). \u0026nbsp;This exhibition is the result of extensive research by Annelien De Troij (M HKA) in collaboration with the Jef Verheyen Archive.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCurators: \u003c/strong\u003eAnnelien De Troij (M HKA) \u0026amp; Adriaan Gonnissen (KMSKA)\u003cbr\u003e\u003cbr\u003e\u003cspan style=\"color:hsl(0,0%,0%);\"\u003e\u003cstrong\u003eClick \u003c/strong\u003e\u003c/span\u003e\u003ca href=\"https://mpembed.com/show/?m=4JehcUEi6EK\u0026amp;mpu=621\"\u003e\u003cspan style=\"color:hsl(0,0%,0%);\"\u003e\u003cstrong\u003ehere \u003c/strong\u003e\u003c/span\u003e\u003c/a\u003e\u003cspan style=\"color:hsl(0,0%,0%);\"\u003e\u003cstrong\u003efor a vitual tour of the exhibition.\u003c/strong\u003e\u003c/span\u003e\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","name":"Jef Verheyen. Venster op het oneindige","short_description":"","description":"\u003cp\u003eDe Vlaamse kunstenaar Jef Verheyen (1932-1984) is eindelijk terug thuis. Veertig jaar na zijn overlijden opent het \u003ca href=\"https://kmska.be/nl/jef-verheyen-venster-op-het-oneindige\"\u003eKMSKA\u003c/a\u003e de eerste grote solotentoonstelling van deze moderne meester in zijn thuisstad Antwerpen. Deze unieke expo, verrijkt met bijzondere bruiklenen van onder meer de Yves Klein Foundation, het Uecker Archiv en de Fondazione Lucio Fontana, markeert een primeur.\u003c/p\u003e\u003cp\u003eDeze expo volgt de evolutie van Verheyen's kunst, van zijn vroege keramiekexperimenten tot zijn meesterschap in de schilderkunst, waarbij de kunstenaar voortdurend de grenzen van licht, donker, vorm en kleur verkende. Nieuw archiefonderzoek toont hoe Verheyen de brug sloeg tussen traditie en vernieuwing, en hoe zijn zoektocht naar de essentie, in het oneindige, vandaag nog steeds resoneert.\u003c/p\u003e\u003cp\u003eDe tentoonstelling nodigt uit tot dialoog en confrontatie met Verheyen's voorgangers, tijdgenoten, en hedendaagse kunstenaars, en biedt een diepere kijk op zijn ononderbroken zoektocht naar het oneindige. Ontdek de wereld van Jef Verheyen opnieuw en ervaar hoe zijn nalatenschap voortleeft.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003e\u003cstrong\u003eActiviteitenprogramma M HKA\u003c/strong\u003e\u003c/h3\u003e\u003cp\u003e\u003ca href=\"https://www.muhka.be/visit/adults/avant-garde-walk\"\u003e\u003cstrong\u003eAvant-gardewandeling\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eStarten en eindigen in het M HKA, elke eerste zaterdag van de maand, 11:00, van april tot en met oktober.\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.muhka.be/programme/detail/1666-vertoning-essentieel-van-jef-verheyen-en-paul-de-vree-earth-water-fire-air-2008-van-kimsooja-met-inleiding-door-kathy-vanhout\"\u003e\u003cstrong\u003eVertoning\u003c/strong\u003e\u003ci\u003e\u003cstrong\u003e Essentieel\u0026nbsp;\u003c/strong\u003e\u003c/i\u003e\u003cstrong\u003evan Jef Verheyen en Paul De Vree\u0026nbsp; \u0026amp; \u003c/strong\u003e\u003ci\u003e\u003cstrong\u003eEarth – Water – Fire – Air\u0026nbsp;\u003c/strong\u003e\u003c/i\u003e\u003cstrong\u003e(2008)\u0026nbsp;van Kimsooja\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.muhka.be/programme/detail/1666-vertoning-essentieel-van-jef-verheyen-en-paul-de-vree-earth-water-fire-air-2008-van-kimsooja-met-inleiding-door-kathy-vanhout\"\u003e\u003cstrong\u003eMet inleiding door Kathy Vanhout\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eDe Cinema, 21 april, 17:15\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://www.muhka.be/programme/detail/1667-gesprek-tussen-kunstenaar-pieter-vermeersch-en-curator-annelien-de-troij\"\u003e\u003cstrong\u003eGesprek tussen kunstenaar Pieter Vermeersch en curator Annelien De Troij\u003c/strong\u003e\u003c/a\u003e\u003c/p\u003e\u003cp\u003eM HKA, zondag 19 mei, 15:00\u003c/p\u003e\u003cp\u003e\u003ci\u003eAansluitend bij dit gesprek is er de mogelijkheid om de publicatie bijbehorend bij de tentoonstelling aan te kopen\u003c/i\u003e. ‘\u003ci\u003eJef Verheyen. Venster op het oneindige’ wordt uitgegeven door Hannibal Books.\u003c/i\u003e\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eSterren kijken in de \u003c/strong\u003e\u003ci\u003e\u003cstrong\u003eSkyspace\u003c/strong\u003e\u003c/i\u003e\u003cstrong\u003e op het dakterras\u003c/strong\u003e\u003c/p\u003e\u003cp\u003eM HKA, tijdens Museumnacht, zaterdag 3 augustus 2024, 21:00 tot 23:59\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eOver Jef Verheyen en de tentoonstelling\u003c/h3\u003e\u003ch3\u003eKeramiek\u003c/h3\u003e\u003cp\u003eGrote vlakken in zwart, rood of heel lichte tinten. Verheyen zette de stap naar abstractie via unieke paden, geïnspireerd door zijn klassieke opleiding aan de Antwerpse Academie en het HISK, en een sleutelmoment in het keramiekatelier van \u003cstrong\u003eOlivier Strebelle\u003c/strong\u003e.\u0026nbsp;\u003c/p\u003e\u003cp\u003eOok zijn latere echtgenote Dani Franque ziet het artistieke potentieel van keramiek. Samen trekken ze in 1953 naar Vallauris, hét keramiekcentrum op dat moment. Het keramische werk van o.a. \u003cstrong\u003ePablo Picasso\u003c/strong\u003e (1881-1973) maakt er blijvend indruk op Verheyen, terwijl hij er ook zijn eigen werk kan tentoonstellen. Het ambachtelijke aspect van keramiek betovert de jonge kunstenaar als alternatief voor de zielloze massaproductie die in de jaren ’50 een hoge vlucht neemt. Jef Verheyen. Venster op het oneindige opent met deze minder bekende \u003ci\u003eorigin stories\u003c/i\u003e in keramiek, van zowel Verheyen zelf als van Franque.\u0026nbsp;\u003c/p\u003e\u003cp\u003eIn het Parijse Aziëmuseum Guimet ziet de kunstenaar in 1953 monochrome schilderkunst en keramiek uit verschillende dynastieën. De kunstenaars van deze werken voegden bewust geen kleur toe en lieten delen leeg.\u0026nbsp;De afwezigheid van kleur laat ruimte voor contemplatie. Die manier van denken vindt Verheyen ook terug in het taoïsme en het zenboeddhisme. De leegte, en de monochromie, sijpelen zo zachtjes aan in zijn werk.\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e“Ik trachtte zowel in de keramiek als in mijn schilderijen een soort ‘essentie’ te bereiken die buiten het vormelijke ligt.”\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003eVerheyens keramiekatelier hangt vol met knipsels en foto’s die lezen als een wereldkaart van invloeden. Behalve zijn fascinatie voor China en het Oosten zien we op foto’s ook traditionele rotstekeningen en maskers uit Midden- en West-Afrika. Het is een cruciaal uitgangspunt voor Verheyen om over culturele tradities heen te kijken, op zoek naar oervormen.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eDe laatste modernist\u003c/h3\u003e\u003cp\u003eZoals bij veel grote crisissen vormt ook Wereldoorlog II voor de kunsten een kantelmoment. Verheyen en andere kunstenaars van zijn generatie stellen zich de vraag: wat is de essentie van kunst? Ze denken conceptueel na over de kunstgeschiedenis. Er groeit een streven om de kunst verder te stuwen, zonder het verleden noodzakelijk te verwerpen. Het gaat om het doorbreken van de schotten tussen de disciplines, Veel van zijn generatiegenoten verlaten de schilderkunst terwijl Verheyen er net aan blijft vasthouden.\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e“Ik schilder om te zien.”\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003eEerst vertaalt Verheyen die interesses naar zijn keramiek. Vanaf 1957 zien we in zijn vroege schilderijen eerst nog cirkels, kringen, halve maanbogen en sferen. De jonge Amerikaanse schilderkunst met haar abstract expressionisme kunnen we net zo goed tellen als inspiratiebron. Ook\u003cstrong\u003e Jackson Pollock\u003c/strong\u003e (1912-1956) kijkt ook naar de Oosterse traditie om staand te schilderen met de drager op de grond, alsof hij kalligrafische tekens creëert.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eMonochromie en identiteit\u003c/h3\u003e\u003cp\u003eIn 1957 komt het grote kantelpunt. De\u0026nbsp;25-jarige Verheyen trekt naar\u0026nbsp;de moderne grootstad\u0026nbsp;Milaan, waar hij \u003cstrong\u003eLucio Fontana\u003c/strong\u003e (1899-1968) ontmoet, de Argentijns-Italiaanse schilder, beeldhouwer en theoreticus. Verheyen ziet in Fontana en zijn \u003ci\u003eConcetto Spaziale\u003c/i\u003e een zielsgenoot\u0026nbsp;om het ruimtelijke aspect van kunst te verkennen.\u0026nbsp;\u003c/p\u003e\u003cp\u003eAl in\u0026nbsp;1946\u0026nbsp;pleit Fontana\u0026nbsp;in\u0026nbsp;\u003ci\u003eManifesto\u0026nbsp;Blanco\u0026nbsp;\u003c/i\u003evoor\u0026nbsp;een\u0026nbsp;andere\u0026nbsp;omgang\u0026nbsp;met tijd en ruimte. Fontana is een stuk ouder dan Verheyen, maar de twee zitten op dezelfde golflengte, blijkt uit de brieven die ze elkaar schrijven. In Milaan smeedt Verheyen ook\u0026nbsp;banden met de kunstenaars\u0026nbsp;\u003cstrong\u003eRoberto\u0026nbsp;Crippa\u003c/strong\u003e (1921-1972)\u0026nbsp;en\u0026nbsp;\u003cstrong\u003ePiero\u0026nbsp;Manzoni\u003c/strong\u003e (1933-1963).\u0026nbsp;\u003c/p\u003e\u003cp\u003eDe\u0026nbsp;impact van\u0026nbsp;Manzoni’s\u0026nbsp;achrome\u0026nbsp;kunst op Verheyens eigen werk laat niet lang op zich wachten. labyrintische, kosmische schilderkunst wijkt voor zuivere monochromen,\u0026nbsp;geschilderd met één kleur, een nieuw soort essentie.\u0026nbsp;Het zwarte monochrome schilderij \u003ci\u003eLe Voile du Mystère\u0026nbsp;\u003c/i\u003e(1958-1959) is een sleutelwerk in die ontwikkeling.\u0026nbsp;\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\"Zwart heeft me altijd meer materie gebleken dan wit. Zwart is zodus de materie zelf. Wit is materie los van stof. Stofvrij. Volledige ruimte. Zwart is een dode kleur.\"\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003eVoor zijn Milanese vrienden is Verheyen een ‘echte Vlaamse kunstenaar’. Dat internationale elan van de Vlaamse kunsttraditie is voor de kunstenaar een \u003ci\u003eeye-opener\u003c/i\u003e. Verheyen adopteerde al de glaceertechniek van Jan van Eyck (1390-1441). Met de slagzin \u003ci\u003eLigt de universaliteit in de traditie?\u0026nbsp;\u003c/i\u003erichten Verheyen en Englebert Van Anderlecht\u0026nbsp;(1918-1961)\u0026nbsp;in 1960 zelfs de Nieuwe Vlaamse School op. Verheyen probeert hiermee van Antwerpen een soort \u003ci\u003ehotspot\u003c/i\u003e maken van de internationale avant-garde.\u003c/p\u003e\u003cp\u003eAan de andere kant begint hij zijn schilderijen titels te geven als \u003ci\u003eVlaamse Aarde\u0026nbsp;\u003c/i\u003eof \u003ci\u003eEspace Flamand\u003c/i\u003e, waarmee Verheyen een manier lijkt te vinden om met zijn identiteit als Vlaamse schilder om te gaan. Ook hier gaat het meer om een idee van Vlaanderen, zoals hij dat ziet in bijvoorbeeld landschappen van \u003cstrong\u003eConstant Permeke\u003c/strong\u003e (1886-1952), dan dat het waarnemingen zijn van een bepaalde plek.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eBeweging, kleur en licht\u003c/h3\u003e\u003cp\u003eMonochrome schilders geloven dat pigmenten op zichzelf beweging kunnen suggereren. Pollock moet met zijn penseel zwieren om beweging te verkrijgen. Verheyen, \u003cstrong\u003eYves Klein\u003c/strong\u003e (1928-1962) en co pakken ‘beweging’ anders aan.\u0026nbsp;\u003c/p\u003e\u003cp\u003eAls je voor een werk van Verheyen staat lijkt het of er deeltjes, als wolken, zacht voorbij lijken te schuiven. Het is een soort statische beweging, opgewekt door verf en techniek. Een echo daarvan ziet Verheyen in de \u003ci\u003ecolor fields\u003c/i\u003e van \u003cstrong\u003eMark Rothko\u003c/strong\u003e (1903-1970).\u003c/p\u003e\u003cp\u003eVanaf begin jaren zestig integreert Verheyen meer kleur, en licht.\u0026nbsp;Laat je een prisma het licht breken zie je een spectrum aan kleuren. De kunstenaar gelooft dat je niet noodzakelijk dat hele spectrum moet schilderen om de illusie op te wekken dat die ontbrekende kleuren er toch zijn. Panchromie, heet dat. Alle kleuren tussen zwart en wit verschijnen in ongrijpbare licht- en zonnebogen, regen- en maanbogen, soms in ruitvorm, soms in een samengestelde compositie. In heldere kleuren schildert Verheyen hommages aan \u003cstrong\u003eClaude Monet\u003c/strong\u003e (1840-1926) en \u003cstrong\u003eVincent van Gogh\u003c/strong\u003e (1853-1890), verwante lichtzoekers. Het licht van Verheyen is opnieuw eerder een idee, een aanvoelen, dan het licht dat hij ziet vanuit zijn atelierraam,\u0026nbsp;wat van hem een abstract kunstenaar maakt.\u0026nbsp;Hij refereert hij naar \u003cstrong\u003eJames Ensor\u003c/strong\u003e (1860-1940), die in een late fase van zijn leven tekeningen en schilderijen maakt in heel lichte pasteltinten.\u0026nbsp;\u003c/p\u003e\u003cp\u003eVerheyen voelt zich verwant met het streven naar het conceptuele, maar koestert tegelijkertijd een grote liefde voor het ambacht. Toch is Verheyen een kind van zijn tijd. Het idee van wat schilderkunst kan zijn, is fundamenteel veranderd. Verheyen groeit via de monochromie naar een kunstloze kunst, Door te schilderen zonder penseelstreken in gewasemde lagen stuurt hij de blik van de toeschouwer doelbewust voorbij zijn verf naar het licht, naar de oneindigheid. Je moet voorbij het platte vlak kijken, eigenlijk erdoorheen kijken. De leegte, of de ruimte in. Deels letterlijk, de space race tussen de Verenigde Staten en Rusland woedt volop op dat moment.\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e“De impressionisten zien eerst het licht, dan voelen ze; ik voel eerst dan zie ik. Ik geloof dat Monet zich met de zuivere kleur verpersoonlijkte.”\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eZERO-beweging \u0026amp; samenwerking\u003c/h3\u003e\u003cp\u003eMet zijn exploratie van het fenomeen ‘licht’ vindt Jef Verheyen aansluiting bij de ZERO-beweging in Italië, Duitsland, Zwitserland, Frankrijk en Nederland. Op zijn schildersvlak, terwijl zij aan de slag gaan met lampen, reflectoren en spiegels.\u0026nbsp;\u003c/p\u003e\u003cp\u003eOndanks het verschil in kunstenaarspraktijk vindt Verheyen in de beweging compagnons om multimediaal mee samen te werken. Hij ontpopt zich tot curator en engageert zijn internationale netwerk voor totaalconcepten waarin ambacht, wetenschap, kunst en architectuur versmelten. Jef Verheyen plaatst het naoorlogse Antwerpen mee op de kaart, naast Milaan, Parijs, Düsseldorf, Amsterdam.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eFontana\u003c/strong\u003e, \u003cstrong\u003eVan Anderlecht\u003c/strong\u003e en \u003cstrong\u003eHermann Goepfert\u003c/strong\u003e (1926-1982) zijn de gedroomde partners die hun schouders mee onder de hybride kunstvormen zetten. Binnen de groep ZERO-kunstenaars is het vooral met \u003cstrong\u003eGünther Uecker\u003c/strong\u003e (°1930) dat Verheyen een nauwe vriendschapsband opbouwt. Broederlijk organiseren ze in 1967 de openluchttentoonstelling \u003ci\u003eVlaamse Landschappen\u0026nbsp;\u003c/i\u003eop het platteland in Mullem. Het duo plaatst een groot raamkader in het landschap om de blik naar de hemel te richten, als een tastbaar venster op het oneindige. Het is de volledige dematerialisatie van de kunst, en één van de meest conceptuele ingrepen van Verheyens carrière. Het eindigt niet bij deze performance. De kunstenaar maakt ook kleine versies met titels als\u0026nbsp; \u003ci\u003eLe Vide \u003c/i\u003een \u003ci\u003eLe Plein\u003c/i\u003e en integreert het ‘begrenzen van het niets’ ook in zijn schilderkunst.\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e“Een venster op de juiste manier geplaatst kan vandaag meer mysterie inhouden dan duizend kaarsen en twee Christus beelden.”\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eZERO Internationaal Antwerpen\u003c/h3\u003e\u003cp\u003eIn 1979 cureerde Jef Verheyen de tentoonstelling \u003ci\u003eZERO Internationaal Antwerpen\u003c/i\u003e in het KMSKA. In de jaren daarna koopt het museum verschillende werken van leden van de ZERO-beweging, vaak bij de kunstenaars zelf, ook bij Verheyen. Dit internationale ensemble is het laatste ensemble dat integraal een plek kreeg in de museumcollectie en bevat namen als \u003cstrong\u003eLucio Fontana\u003c/strong\u003e en \u003cstrong\u003eGünther Uecker\u003c/strong\u003e, Verheyens vrienden.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eLichtkathedralen en geometrie\u003c/h3\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003eNa het experimenteren met oervormen, kleur en licht richt Verheyen zijn blik in die vruchtbare jaren zestig opnieuw op vormen. Hij introduceert \u003ci\u003etondo’s\u003c/i\u003e, ronde schilderijen, die in de Italiaanse kunstgeschiedenis hoger hangen dan klassieke schilderijen. Tegelijk is de cirkel een oneindige vorm, die ook in het Oosten een symbolische waarde heeft. Met een drieluik als \u003ci\u003eLichtkathedralen\u0026nbsp;\u003c/i\u003everenigt Verheyen zijn onderzoek naar kleur, licht en (de gotische) vorm.\u003c/p\u003e\u003cp\u003e‘Afnemend licht is toenemend donker’, en omgekeerd. Voor Verheyen zijn dag en nacht als het ademen van de wereld, dat hij wil representeren. Natuurlijke fenomenen en de basiselementen aarde, lucht, vuur en licht worden zijn alfa en omega. Uit die basiselementen puurt hij zelfs een experimentele film, een vroege \u003ci\u003eartistfilm\u003c/i\u003e, \u003ci\u003eEssentieel\u003c/i\u003e, die een plek heeft in de expo.\u003c/p\u003e\u003cp\u003eOndertussen blijft Verheyen zoeken naar het licht dat overal anders is. Het leidt hem weg van het Vlaamse landschap naar Brazilië, Mexico, Spanje, Italië. Uiteindelijk verhuist hij in 1974 van Antwerpen naar de Provence.\u0026nbsp;\u003c/p\u003e\u003cp\u003eIn wiskunde en Griekse filosofie vindt Verheyen een basis voor harmonie en de ideale ruimte. Geometrische basisvormen of perspectieflijnen zijn de fundamenten van Verheyens latere schilderijen. Tussen 1980 en 1984 transformeert hij o.a. diamantvormige spiegels tot \u003ci\u003etrompe l’oeils\u003c/i\u003e. De vormen lijken te zweven in een onbegrensde ruimte, als een venster op het oneindige. De cirkel is rond.\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eHedendaagse meesters\u003c/h3\u003e\u003cp\u003eVerheyen verkende een andere manier van kunstbeleving, die vandaag vanzelfsprekend lijkt. Maar is dat wel zo? Hoe gaan kunstenaars vandaag om met het oneindige, licht of kleur? \u003cstrong\u003eAnn Veronica Janssens\u003c/strong\u003e, \u003cstrong\u003eKimsooja\u003c/strong\u003e, \u003cstrong\u003ePieter Vermeersch\u003c/strong\u003e en de tandem \u003cstrong\u003eCarla Arocha-Stéphane Schraenen\u003c/strong\u003e gaan de uitdaging aan met dynamische lichtinstallaties of spiegelschilderijen\u0026nbsp;Net als Verheyen doorbreken ze de grenzen van de schilderkunst om de visuele verwondering van de bezoeker te prikkelen.\u0026nbsp;\u003cbr\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eBruggenbouwer\u003c/h3\u003e\u003cp\u003eHet Jef Verheyen Archief vond zijn onderdak bij het Centrum Kunstarchieven Vlaanderen (CKV) in het M HKA. Uit de brieven, dagboeken, essays, manifesten komt Verheyen duidelijk naar voor als bruggenbouwer. Met veel liefde voor het ambacht van bijvoorbeeld Jan van Eyck, van wie het KMSKA twee werken bezit. Tegelijk vindt de schilder het idee belangrijker dan de uitvoering. \u003ci\u003eJef Verheyen. Venster op het oneindige\u003c/i\u003e toont de meestal onderbelichte conceptuele aspecten van Verheyens kunst, waarmee hij\u0026nbsp;als een schakelfiguur tussen het KMSKA en het M HKA optreedt, tussen traditie en vernieuwing.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003ci\u003eJef Verheyen. Venster op het oneindige\u003c/i\u003e\u0026nbsp;is een samenwerking van twee Antwerpse partnermusea, KMSKA en\u0026nbsp;M HKA (Museum voor Hedendaagse Kunst Antwerpen). \u0026nbsp;Deze tentoonstelling is het resultaat van uitvoerig onderzoek door Annelien De Troij (M HKA) in samenwerking met het Jef Verheyen Archief.\u003c/p\u003e\u003cp\u003e\u003cbr\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eCuratoren\u003c/strong\u003e: Annelien De Troij (M HKA) en Adriaan Gonnissen (KMSKA)\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eKlik \u003c/strong\u003e\u003ca href=\"https://mpembed.com/show/?m=4JehcUEi6EK\u0026amp;mpu=621\"\u003e\u003cstrong\u003ehier \u003c/strong\u003e\u003c/a\u003e\u003cstrong\u003evoor een virtueel bezoek aan de tentoonstelling.\u003c/strong\u003e\u003cbr\u003e\u003cbr\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","name":"Jef Verheyen. Fenêtre sur l'infini","short_description":"","description":"\u003cp\u003eSi important pour le monde de l'art européen et pourtant peu connu en Belgique : l'artiste flamand Jef Verheyen (1932-1984) fait son retour à Anvers. Quarante ans après sa mort, le KMSKA présente la première exposition individuelle consacrée à cet illustre maître de l'art moderne dans sa ville natale. Une première.\u003c/p\u003e\u003cp\u003eJef Verheyen. Fenêtre sur l'infini suit de près l'évolution de ce maître moderne. Nous voyons comment il passe des expériences de céramique à la peinture, en affinant constamment le médium. Dans la lumière et l'obscurité, dans la forme et la couleur. De nouvelles recherches d'archives révèlent comment Verheyen comble le fossé entre tradition et innovation, entre présent et futur. À la recherche de l'essence, dans l'infini. Tout pour nous faire regarder différemment, et voir davantage. Et que cela soit désormais la devise du KMSKA.\u003c/p\u003e\u003cp\u003e\u003ca href=\"https://tickets.kmska.be/fr/verheyen/tickets\"\u003eRéservez votre billet\u003c/a\u003e\u003cbr\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eMouvement, couleur et lumière\u003c/h3\u003e\u003cp\u003eLorsque tu te trouves devant une œuvre de Verheyen, il semble que des particules, telles des nuages, glissent doucement devant toi. Toutes les couleurs entre le noir et le blanc apparaissent dans des arcs de lumière et des arcs-en-ciel insaisissables, des arcs-en-ciel solaires et lunaires, parfois sous forme de diamant, parfois dans une composition complexe. Dans des couleurs vives, Verheyen peint des hommages à Claude Monet (1840-1926) et Vincent van Gogh (1853-1890), des chercheurs de lumière apparentés.\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\"Dans mes céramiques comme dans mes peintures, j'ai essayé d'atteindre une sorte d'essence au-delà de la forme.\"\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eRetentissement contemporain\u003c/h3\u003e\u003cp\u003eAfin de mettre en exergue le rôle de Verheyen en tant que pionnier d'une nouvelle expérience d'art, les commissaires de l’exposition ont également invité des artistes contemporains. Les installations d'Ann Veronica Janssens, de Kimsooja, de Carla Arocha \u0026amp; Stéphane Schraenen et de Pieter Vermeersch renforceront ainsi l'expérience spatiale et l'émerveillement visuel du visiteur.\u003c/p\u003e\u003cp\u003e\u003ci\u003eJef Verheyen. Vue vers l'infini \u003c/i\u003eest une collaboration entre deux musées partenaires anversois, le KMSKA et le M HKA (Musée d'Art contemporain d'Anvers).\u0026nbsp; Cette exposition est le résultat de recherches approfondies menées par le M HKA en collaboration avec le Jef Verheyen Archief.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eLe dernier moderniste\u003c/h3\u003e\u003cp\u003eComme beaucoup de crises majeures, la Seconde Guerre mondiale représente un tournant pour les arts. Verheyen et d'autres artistes de sa génération s'interrogent : quelle est l'essence de l'art ? Ils réfléchissent de manière conceptuelle à l'histoire de l'art. Le désir grandit de pousser l'art plus loin, sans pour autant rejeter le passé. Il s'agit de briser les cloisons entre les disciplines. Beaucoup de ses contemporains abandonnent la peinture alors que Verheyen s'y tient.\u003c/p\u003e\u003cp\u003eVerheyen se sent proche de la recherche du conceptuel, mais nourrit en même temps un grand amour pour l'artisanat. Pourtant, Verheyen est un enfant de son temps. L'idée que l'on se fait de la peinture a fondamentalement changé. En peignant sans coups de pinceau, en couches lavées, il envoie délibérément le regard du spectateur au-delà de la peinture, vers la lumière, vers l'infini. Il faut regarder au-delà de la surface plane, regarder à travers elle. Dans le vide, ou l'espace. La course à l'espace entre les États-Unis et la Russie fait rage à l'époque.\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\"Je peins pour voir.\"\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003eVerheyen traduit d'abord ces intérêts dans ses céramiques. À partir de 1957, on voit apparaître dans ses premières peintures des cercles, des arcs de demi-lune et des sphères. La jeune peinture américaine, avec son expressionnisme abstrait, peut également être considérée comme une source d'inspiration. Jackson Pollock (1912-1956) s'inspire également de la tradition orientale qui consiste à peindre debout, le support posé sur le sol, comme pour créer des marques calligraphiques.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eMonochromie en identiteit\u003c/h3\u003e\u003cp\u003eEn 1957, c'est le grand tournant. À 25 ans, Verheyen s'installe dans la métropole moderne de Milan, où il rencontre \u003cstrong\u003eLucio Fontana\u003c/strong\u003e (1899-1968), peintre, sculpteur et théoricien italo-argentin. Verheyen voit en Fontana et son Concetto Spaziale une âme sœur pour explorer l'aspect spatial de l'art.\u003c/p\u003e\u003cp\u003eDès 1946, dans le \u003ci\u003eManifesto Blanco\u003c/i\u003e, Fontana préconise une autre façon d'aborder le temps et l'espace. Fontana est beaucoup plus âgé que Verheyen, mais tous deux sont sur la même longueur d'onde, si l'on en croit les lettres qu'ils s'écrivent. À Milan, Verheyen noue également des liens avec les artistes\u003cstrong\u003e Roberto Crippa\u003c/strong\u003e (1921-1972) et \u003cstrong\u003ePiero Manzoni \u003c/strong\u003e(1933-1963).\u003c/p\u003e\u003cp\u003eL'impact de l'art achrome de Manzoni sur l'œuvre de Verheyen ne s'est pas fait attendre. La peinture labyrinthique et cosmique a cédé la place à des monochromes purs, peints avec une seule couleur, une nouvelle sorte d'essence. Le monochrome noir\u003ci\u003e Le Voile du Mystère \u003c/i\u003e(1958-1959) est une œuvre clé de cette évolution.\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\"Le noir m'a toujours semblé plus important que le blanc. Le noir est donc la matière elle-même. Le blanc est la matière séparée de la matière. Sans poussière. L'espace complet. Le noir est une couleur morte.\"\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003ePour ses amis milanais, Verheyen est un 'véritable artiste flamand'. Cet élan international de la tradition artistique flamande est une révélation pour l'artiste. Verheyen a déjà adopté la technique de glaçage de Jan van Eyck (1390-1441). Avec le slogan L ligt de universaliteit in de traditie, Verheyen et Englebert Van Anderlecht (1918-1961) ont même fondé la Nouvelle école flamande en 1960. Verheyen tente ainsi de faire d'Anvers une sorte de hotspot de l'avant-garde internationale.\u003c/p\u003e\u003cp\u003eD'autre part, il commence à donner à ses tableaux des titres comme \u003ci\u003eEspace Flamand\u003c/i\u003e, avec lesquels Verheyen semble trouver un moyen de gérer son identité en tant que peintre flamand. Là encore, il s'agit davantage d'une idée de la Flandre, telle qu'il la voit par exemple dans les paysages de Constant Permeke (1886-1952), que de l'observation d'un lieu particulier.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eMouvement, couleur et lumière\u003c/h3\u003e\u003cp\u003eLes peintres monochromes pensent que les pigments peuvent à eux seuls suggérer le mouvement. Pollock doit balancer son pinceau pour obtenir le mouvement. Verheyen, Yves Klein (1928-1962) et consorts ont une autre approche du \"mouvement\".\u003c/p\u003e\u003cp\u003eDevant une œuvre de Verheyen, on a l'impression que des particules, comme des nuages, semblent glisser doucement. Il s'agit d'une sorte de mouvement statique, généré par la peinture et la technique. Verheyen y voit un écho dans les champs de couleurs de Mark Rothko (1903-1970).\u003c/p\u003e\u003cp\u003eÀ partir du début des années 1960, Verheyen intègre davantage de couleurs et de lumière. Si vous laissez un prisme réfracter la lumière, vous obtenez un spectre de couleurs. L'artiste estime qu'il n'est pas nécessaire de peindre tout le spectre pour créer l'illusion que les couleurs manquantes sont bien présentes. C'est ce qu'on appelle la panchromie. Toutes les couleurs entre le noir et le blanc apparaissent dans des arcs de lumière insaisissables et des arcs de soleil, de pluie et de lune, parfois en forme de diamant, parfois dans une composition composite. Dans des couleurs vives, Verheyen rend hommage à Claude Monet (1840-1926) et à Vincent van Gogh (1853-1890), deux chercheurs de lumière. La lumière de Verheyen est à nouveau plus une idée, un sens, que la lumière qu'il voit de la fenêtre de son atelier, ce qui fait de lui un artiste abstrait. Il fait référence à James Ensor (1860-1940), qui, à un stade avancé de sa vie, a réalisé des dessins et des peintures dans des tons pastel très clairs.\u003c/p\u003e\u003cp\u003eVerheyen se sent proche de la recherche du conceptuel, mais nourrit en même temps un grand amour de l'artisanat. Pourtant, Verheyen est un enfant de son temps. L'idée de ce que peut être la peinture a fondamentalement changé. En peignant sans coups de pinceau, en couches lavées, il envoie délibérément le regard du spectateur au-delà de la peinture, vers la lumière, vers l'infini. Il faut regarder au-delà de la surface plane, regarder à travers elle. Dans le vide, ou l'espace. La course à l'espace entre les États-Unis et la Russie fait rage à l'époque.\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\"Les impressionnistes voient d'abord la lumière, puis ils sentent , moi, je sens d'abord, puis je vois. Je crois que Monet s'est personnifié avec la couleur pure.\"\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eMouvement ZERO et coopération\u003c/h3\u003e\u003cp\u003eEn explorant le phénomène de la 'lumière', Jef Verheyen se rapproche du mouvement ZERO en Italie, en Allemagne, en Suisse, en France et aux Pays-Bas. Sur le front de la peinture, ils travaillent avec des lampes, des réflecteurs et des miroirs.\u003c/p\u003e\u003cp\u003eMalgré la différence de pratique artistique, Verheyen trouve dans le mouvement des compagnons avec lesquels il peut collaborer sur le plan multimédia. Il se présente comme un conservateur et fait appel à son réseau international pour des concepts globaux dans lesquels l'artisanat, la science, l'art et l'architecture fusionnent. Jef Verheyen place l'Anvers de l'après-guerre sur la carte aux côtés de Milan, Paris, Düsseldorf et Amsterdam.\u003c/p\u003e\u003cp\u003e\u003cstrong\u003eFontana, Van Anderlecht\u003c/strong\u003e et\u003cstrong\u003e Hermann Goepfert \u003c/strong\u003e(1926-1982) sont les partenaires de rêve qui mettent leurs épaules sous les formes d'art hybrides. Au sein du groupe d'artistes ZERO, c'est surtout avec Günther Uecker (°1930) que Verheyen se lie d'amitié. Fraternellement, ils organisent l'exposition en plein air Paysages flamands à la campagne à Mullem en 1967. Le duo place un grand cadre de fenêtre dans le paysage pour diriger le regard vers le ciel, comme une fenêtre tangible sur l'infini. Il s'agit d'une dématérialisation complète de l'art et de l'une des interventions les plus conceptuelles de la carrière de Verheyen. Cette performance ne s'arrête pas là. L'artiste crée également de petites versions portant des titres tels que Le Vide et Le Plein, et intègre également le 'bornage du néant' dans sa peinture.\u003c/p\u003e\u003cblockquote\u003e\u003cp\u003e\"Une fenêtre bien placée aujourd'hui peut contenir plus de mystère que mille bougies et deux statues du Christ.\"\u003c/p\u003e\u003c/blockquote\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eZERO International Anvers\u003c/h3\u003e\u003cp\u003eEn 1979, Jef Verheyen a été le commissaire de l'exposition ZERO International Antwerp au KMSKA. Au cours des années suivantes, le musée a acheté plusieurs œuvres de membres du mouvement ZERO, souvent auprès des artistes eux-mêmes, dont Verheyen. Cet ensemble international est le dernier à faire partie intégrante de la collection du musée et comprend des noms tels que \u003cstrong\u003eLucio Fontana\u003c/strong\u003e et \u003cstrong\u003eGünther Uecker\u003c/strong\u003e, des amis de Verheyen.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eCathédrales de lumière et géométrie\u003c/h3\u003e\u003cp\u003eAprès avoir expérimenté les archétypes, la couleur et la lumière, Verheyen recentre son regard sur les formes dans ces années 1960 si fertiles. Il introduit les tondos, des tableaux ronds qui, dans l'histoire de l'art italien, sont plus élevés que les tableaux classiques. En même temps, le cercle est une forme infinie, qui a aussi une valeur symbolique en Orient. Avec un triptyque comme les Cathédrales de lumière, Verheyen réunit ses recherches sur la couleur, la lumière et la forme (gothique).\u003c/p\u003e\u003cp\u003eLa diminution de la lumière entraîne une augmentation de l'obscurité, et inversement. Pour Verheyen, le jour et la nuit sont comme la respiration du monde qu'il veut représenter. Les phénomènes naturels et les éléments de base que sont la terre, l'air, le feu et la lumière deviennent son alpha et son oméga. De ces éléments de base, il tire même un film expérimental, un premier film d'artiste, Essential, qui a sa place dans l'exposition.\u003c/p\u003e\u003cp\u003eEntre-temps, Verheyen continue à chercher la lumière qui est différente partout. Il s'éloigne du paysage flamand pour se rendre au Brésil, au Mexique, en Espagne, en Italie. Enfin, en 1974, il quitte Anvers pour la Provence.\u003c/p\u003e\u003cp\u003eVerheyen trouve dans les mathématiques et la philosophie grecque la base de l'harmonie et de l'espace idéal. Les formes géométriques de base ou les lignes de perspective sont les fondements des dernières peintures de Verheyen. Entre 1980 et 1984, il transforme, entre autres, des miroirs en forme de losange en trompe-l'œil. Les formes semblent flotter dans un espace illimité, comme une fenêtre sur l'infini. Le cercle est complet.\u003c/p\u003e\u003cp\u003eDiminuer la lumière, c'est augmenter l'obscurité\", et vice versa. Pour Verheyen, le jour et la nuit sont comme la respiration du monde qu'il veut représenter. Les phénomènes naturels et les éléments de base que sont la terre, l'air, le feu et la lumière deviennent son alpha et son oméga. De ces éléments de base, il tire même un film expérimental, un premier film d'artiste, Essential, qui a sa place dans l'exposition.\u003c/p\u003e\u003cp\u003eEntre-temps, Verheyen continue à chercher la lumière qui est différente partout. Il s'éloigne du paysage flamand pour se rendre au Brésil, au Mexique, en Espagne, en Italie. Enfin, en 1974, il quitte Anvers pour la Provence.\u003c/p\u003e\u003cp\u003eVerheyen trouve dans les mathématiques et la philosophie grecque la base de l'harmonie et de l'espace idéal. Les formes géométriques de base ou les lignes de perspective sont les fondements des dernières peintures de Verheyen. Entre 1980 et 1984, il transforme, entre autres, des miroirs en forme de losange en trompe-l'œil. Les formes semblent flotter dans un espace illimité, comme une fenêtre sur l'infini. Le cercle est complet.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003ch3\u003eMaîtres contemporains\u003c/h3\u003e\u003cp\u003eVerheyen a exploré une autre façon de vivre l'art, ce qui semble évident aujourd'hui. Mais est-ce le cas ? Comment les artistes d'aujourd'hui traitent-ils de l'infini, de la lumière ou de la couleur ? Ann Veronica Janssens, Kimsooja, Pieter Vermeersch et le tandem Carla Arocha-Stéphane Schraenen relèvent le défi avec des installations lumineuses dynamiques ou des tableaux-miroirs. Tout comme Verheyen, ils franchissent les limites de la peinture pour stimuler l'émerveillement visuel du visiteur.\u003c/p\u003e\u003ch3\u003e\u003cbr\u003eConstructeur de ponts\u003c/h3\u003e\u003cp\u003eLes archives Jef Verheyen ont trouvé leur place au Centrum Kunstarchieven Vlaanderen (CKV) du M HKA. Des lettres, journaux, essais et manifestes, Verheyen ressort clairement comme un bâtisseur de ponts. Avec un grand amour pour l'art de Jan van Eyck, par exemple, dont le KMSKA possède deux œuvres. En même temps, le peintre estime que l'idée est plus importante que l'exécution. Jef Verheyen. Fenêtre sur l'infini montre les aspects conceptuels de l'art de Verheyen, généralement sous-exposés, et fait ainsi office de trait d'union entre le KMSKA et le M HKA, entre la tradition et l'innovation.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e\u003cp\u003e\u003ci\u003eJef Verheyen. 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Geleyns, Royal Museums of Fine Arts of Belgium, SABAM - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":23512,"title":"Jef Verheyen","date_begin":"1966-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/066/023/large/JV_01_01_01_a.jpg?1637659416","poster_credits":"(c) Scan: CKV, 2020 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":24098,"title":"• 0504 • De Grote Pan - Le Grand Pan","date_begin":"1963-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/411/large/504_1.jpg?1582185290","poster_credits":"© SABAM Belgium, 2024, Royal Museums of Fine Arts of Belgium (Brussels), J. Geleyns","actors":"Jef Verheyen"},{"id":24186,"title":"Publication of the exhibition 'Integratie 64' with a cover design by Victor Vasarely","date_begin":"1964-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/051/624/large/JV_Plan1_1.jpg?1583219610","poster_credits":"(c) Scan: CKV, 2020 - Jef Verheyen Archive","actors":"Paul De Vree, Victor Vasarely, Jef Verheyen"},{"id":24456,"title":"Annotated study sketch by Jef Verheyen about “diminishing light is increasing darkness”","date_begin":"1959-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/605/large/JV_09_175_a.jpg?1660827098","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":24645,"title":"• 0531 • Le Matin des Magiciens - La Soirée des Mages","date_begin":"1979-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/828/large/531_7.jpg?1720789159","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":24716,"title":"• 0544 • Begrenzing van het Niets (Boundary of Nothingness)","date_begin":"1960-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/052/610/large/544_1.jpg?1585124137","poster_credits":"(c)Jef Verheyen, photo: Jan Liégeois - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":24731,"title":"• 0555 • Ora d'Iris","date_begin":"1960-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/379/large/555_4.jpg?1667912190","poster_credits":"(c)Jef Verheyen, photo: Philipp Schönborn, München, VG Bild-Kunst - Jef Verheyen Archive","actors":"Galerie Iris Clert, Jef Verheyen"},{"id":25711,"title":"• 0657 • Monochrome - Achrome I ","date_begin":"1958-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/913/large/657_8.jpg?1721120319","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":25922,"title":"9e biennale de São Paulo: participation belge","date_begin":"1967-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/057/319/large/JV_Publ_G_Sao_Paulo_1967_1.jpg?1590573323","poster_credits":"(c) Scan: CKV, 2020 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":26261,"title":"676 • Stelatex (ed. 25)","date_begin":"1966-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/066/022/large/176_200_649_nm.jpg?1606228347","poster_credits":"(c) Scan: CKV, 2020 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":26369,"title":"Biennale di Venezia 1970","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/059/089/large/img15062021_0029.jpg?1666860433","poster_credits":"(c) Scan: CKV, 2020 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":27139,"title":"Artist's scrapbook (Portfolio)","date_begin":"1948-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/060/729/large/img20082020_0217.jpg?1598275442","poster_credits":"(c) Scan: CKV, 2020 - Jef Verheyen Archive","actors":"Jef Verheyen, Frank Philippi"},{"id":27185,"title":"Jef portrayed in his atelier Rubensstraat","date_begin":"1956-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/061/024/large/JV_Portrait_Rubensstraat_1956_1.jpg?1598514511","poster_credits":"(c)Jef Verheyen - scan: CKV, 2020 - Jef Verheyen Archive - photo: Frank Philippi","actors":"Jef Verheyen"},{"id":27186,"title":"Jef Verheyen in front of his work Composition pour 5 blancs (Composition of 5 whites) in his studio on Rubensstraat, Antwerp","date_begin":"1956-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/061/032/large/JV_Portrait_Rubensstraat_1956_2.jpg?1598515388","poster_credits":"(c) Scan: CKV, 2020 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":27189,"title":"Jef Verheyen with monochrome ceramic in Atelier 14","date_begin":"1955-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/021/large/27189_d.jpg?1721217482","poster_credits":"© SABAM Belgium, 2024, scan from the Jef Verheyen Archive by CKV","actors":"Jef Verheyen"},{"id":27190,"title":"Interior of l'Atelier 14 (ceramics shop)","date_begin":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/061/043/large/JV_Atelier14.jpg?1598518443","poster_credits":"(c)Scan: CKV, 2020 - Jef Verheyen Archive - photo: Gerald Dauphin","actors":"Jef Verheyen"},{"id":27477,"title":"Jef Verheyen and Piero Manzoni (right) in a restaurant in Milan","date_begin":"1959-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/020/large/27477.jpg?1721217130","poster_credits":"© SABAM Belgium, 2024, Collectie FOMU, Fotomuseum Antwerpen, Frank Philippi","actors":"Jef Verheyen, Piero Manzoni, Frank Philippi"},{"id":27733,"title":"Clipping from the artist’s studio, illustrating Jackson Pollock paint dripping on the floor","date_begin":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/063/019/large/27733.jpg?1602598831","poster_credits":"(c) Scan: CKV, 2020 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":28436,"title":"Notes about modernism","date_begin":"1957-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/064/959/large/img08102020_0001.jpg?1605192434","poster_credits":"(c) Scan: CKV, 2020 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":28786,"title":"Jef Verheyen and Englebert Van Anderlecht (right) working together on their joint series of paintings 'The One and the Other – Neither One Nor the Other'","date_begin":"1960-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/767/large/28786_c.jpg?1718808006","poster_credits":"© SABAM Belgium, 2024, FOMU collection, Fotomuseum Antwerpen, Frank Philippi","actors":"Frank Philippi, Jef Verheyen, Englebert Van Anderlecht, Guy Vaes"},{"id":30773,"title":"Sketch drawing about analytic drawing","date_begin":"1957-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/073/954/large/JV_09_33_a.jpg?1629800516","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":30775,"title":"Notes about the etymology of Le Peintre Flamant, the selfappointed nickname of Jef Verheyen","date_begin":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/073/959/large/JV_09_35_a.jpg?1629806536","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":30863,"title":"Artist's notes 'La peinture n'est ni la pensée ni le sentiment, mais le sentiment d'une pensée'","date_begin":"1957-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/198/large/JV_09_60_a.jpg?1630331536","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":31104,"title":"Artist’s sketch drawing 'Dimensie als kleur, kleur als materiaal, materiaal als dimensie - Ceci n'est pas une peinture'","date_begin":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/074/942/large/JV_09_133_a.jpg?1632216654","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":31283,"title":"Preparatory notes for the publication 'Pour une peinture non plastique'","date_begin":"1959-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/411/large/JV_09_154_a.jpg?1634648100","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":31300,"title":"• 0721 • L'air est plein de ta chaleur","date_begin":"1958-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/933/large/721_12.jpg?1721123828","poster_credits":"© SABAM Belgium, 2024, Fondazione Lucio Fontana","actors":"Jef Verheyen, Lucio Fontana"},{"id":31342,"title":"Jef Verheyen 40","date_begin":"1972-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/642/large/JV_01_01_11_a.jpg?1636720125","poster_credits":"(c)scan: CKV, 2021 - Jef Verheyen Archive","actors":"Jef Verheyen, Ivo Michiels, Frank Philippi"},{"id":31356,"title":"Invitation to the exhibition 'Zonnebogen' in Galerie Aujourd’hui, Palais des Beaux-Arts, Brussels","date_begin":"1964-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/682/large/JV_01_01_13_b.jpg?1637229062","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":31397,"title":"Invitation to the exhibition 'Les peintures essentielles' in Galerie Bernard, Grenchen","date_begin":"1961-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/725/large/JV_01_01_24.jpg?1637572055","poster_credits":"(c)scan: CKV, 2021 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":31403,"title":"Invitation to the exhibition 'Panchromatische Objekte' in Galerie Ursula Lichter, Frankfurt am Main","date_begin":"1968-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/747/large/JV_01_01_30_a.jpg?1637588293","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":31405,"title":"Invitation to the first exhibition in Galleria Pater, Milan","date_begin":"1958-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/762/large/JV_01_02_09_c.jpg?1637673378","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","actors":"Jef Verheyen, Ivo Michiels"},{"id":31423,"title":"Publication of the exhibition 'Peintures monochromes' in Galerie Bernard, Grenchen","date_begin":"1960-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/794/large/JV_19_06_a.jpg?1637829718","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":31424,"title":"Jef Verheyen","date_begin":"1959-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/802/large/JV_01_01_05_c.jpg?1637831599","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","actors":"Jef Verheyen, Ivo Michiels"},{"id":31434,"title":"Ad Reinhardt, Francesco Lo Savio, Jef Verheyen","date_begin":"1961-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/845/large/JV_19_31_a.jpg?1673873115","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":31468,"title":"Jef Verheyen and Lucio Fontana just before the opening of Fontana’s solo exhibition in Museum Morsbroich in Leverkusen, curated by Udo Kultermann","date_begin":"1962-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/664/large/JV_38_03_11_d.jpg?1718198898","poster_credits":"FOMU Collection, Fotomuseum Antwerpen, Gerald Dauphin","actors":"Lucio Fontana, Jef Verheyen"},{"id":31494,"title":"• 0728 • Espace","date_begin":"1963-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/075/975/large/728_1.jpg?1638796548","poster_credits":"(c)Jef Verheyen, photo: Andreas Freytag, Stuttgart - Jef Verheyen Archive","actors":"Jef Verheyen, Henk Peeters"},{"id":31507,"title":"Dani Franque, Jef Verheyen, Rotraut Klein, Marcel Stal, Rochus Kowallek and Günther Uecker (left to right) at the opening of 'Lichtkathedralen' in Galerie Carrefour, Brussels","date_begin":"1967-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/031/large/JV_04_03_38_a.jpg?1639049530","poster_credits":"© Maria Gilissen Broodthaers","actors":"Jef Verheyen, Günther Uecker"},{"id":31522,"title":"Jef Verheyen and Iris Clert at the opening of 'Panchromies'","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/065/large/JV_04_03_51_a.jpg?1639139293","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","actors":"Galerie Iris Clert, Jef Verheyen"},{"id":31533,"title":"Dani Franque, Jef Verheyen and Jean-Michel Folon? at La Biennale di Venezia (Belgian Pavilion)","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/086/large/JV_04_03_62.jpg?1639395880","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":31617,"title":"Invitation to the inaugural exhibition of Atelier 14, Antwerp, 21 July 1955","date_begin":"1955-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/239/large/JV_65_01.jpg?1642510888","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":31628,"title":"• 0733 • Keramisch Wit","date_begin":"1957-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/693/large/733_1.jpg?1643703228","poster_credits":"(c) Photo: Jean De Maeyer, Antwerp - Jef Verheyen Archive, 2021","actors":"Jef Verheyen"},{"id":31751,"title":"Invitation to the exhibition 'ZERO. Schilders door de galerie gekozen' in Galerie Ad Libitum, Antwerp","date_begin":"1962-01-01","poster_image":null,"poster_credits":null,"actors":"Jef Verheyen"},{"id":31752,"title":"Signed photo of Günther Uecker with inscription 'Jef, in deine reine Vision des Lichts möchte ich mit meinen Nageln eindringen. Uecker 67'","date_begin":"1967-01-01","poster_image":null,"poster_credits":null,"actors":"Jef Verheyen, Günther Uecker"},{"id":31815,"title":"Jef Verheyen di Ivo Michiels","date_begin":"1957-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/076/950/large/JV_02_02.jpg?1645188567","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","actors":"Jef Verheyen, Ivo Michiels"},{"id":31816,"title":"• 0736 • Untitled ","date_begin":"1956-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/850/large/736_8.jpg?1721043399","poster_credits":"© SABAM Belgium, 2024, Fondazione Lucio Fontana","actors":"Jef Verheyen"},{"id":31832,"title":"Jef Verheyen holding the tondo for Metaponte in his studio on Hoogstraat, Antwerp","date_begin":"1966-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/077/086/large/JV_04_05_01.jpg?1645532697","poster_credits":"Lothar Wolleh © Lothar Wolleh Estate:","actors":"Jef Verheyen"},{"id":31904,"title":"Jef Verheyen Peintre Flamand (Art Actuel)","date_begin":"1959-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/714/large/JV_40_20.jpg?1655895987","poster_credits":"(c) Scan: CKV, 2021 - Jef Verheyen Archive","actors":"Ivo Michiels, Jef Verheyen"},{"id":31926,"title":"Jef Verheyen Retrospectieve","date_begin":"1979-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/561/large/JV_19_22.jpg?1670493393","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":32186,"title":"Letter from Iris Clert to Jef Verheyen (26 September 1970)","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/560/large/32186_1b.jpg?1651838949","poster_credits":"(c) Scan: CKV, 2019 - Jef Verheyen Archive","actors":"Galerie Iris Clert, Jef Verheyen"},{"id":32196,"title":"Letter from Yves Klein to Jef Verheyen (17 January 1959)","date_begin":"1959-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/619/large/32196_1b.jpg?1652174046","poster_credits":"(c) Scan: CKV, 2019 - Jef Verheyen Archive","actors":"Piero Manzoni, Jean Tinguely, Jef Verheyen, Yves Klein"},{"id":32247,"title":"• 0759 • Untitled","date_begin":"1958-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/083/951/large/759_1.jpg?1653033905","poster_credits":"(c)Jef Verheyen, photo: Christie's Amsterdam - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":32278,"title":"Jef Verheyen's Liber Amicis","date_begin":"1962-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/079/large/LA1.jpg?1653640801","poster_credits":"(c) Scan: CKV, 2019 - Jef Verheyen Archive","actors":"Jef Verheyen, Serge Largot, Nanda Vigo, Lucio Fontana, Ivo Michiels, Gerhard Richter, Guy Vaes, Vic Gentils, Günther Uecker, Piero Manzoni"},{"id":32384,"title":"• 0769 • Kruik","date_begin":"1952-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/665/large/769_6.jpg?1718199260","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":32386,"title":"• 0770 • Untitled (Als de binnenvorm de buitenvorm is)","date_begin":"1956-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/859/large/770_3.jpg?1721046051","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","actors":"Jef Verheyen, Guy Vaes"},{"id":32390,"title":"• 0772 • Fiori Oscuri","date_begin":"1977-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/718/large/772_4.jpg?1718697276","poster_credits":"© SABAM Belgium, 2024, Ugo Carmeni","actors":"Jef Verheyen"},{"id":32490,"title":"Outtake from 'Essentialisme' as published in 'Het Kahier'","date_begin":"1959-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/085/227/large/JV_14_03.jpg?1658306490","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":33327,"title":"• 0785 • Untitled","date_begin":"1958-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/832/large/785_5.jpg?1721034258","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":33420,"title":"6 Variaties op een thema: Morgen - Zee - Aarde - Nacht - l'Air - Vuur","date_begin":"1976-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/087/485/large/JV_09_190_a.jpg?1664181801","poster_credits":"(c) Scan: CKV, 2022 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":33688,"title":"• 0788 • Untitled","date_begin":"1962-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/082/large/788_1.jpg?1666078545","poster_credits":"(c)Jef Verheyen, photo: Christie's Amsterdam - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":33775,"title":"Portrait of Jef Verheyen in Belgian Pavilion at Biennale Venezia","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/404/large/JV_04_05_20_02.JPG?1668418157","poster_credits":"(c) Scan: Foto Nelissen, 2021 - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":33780,"title":"• 0793 • Profondément le rouge de la folie pure, nulle tache, nul mouvement / M'enfondre dans l'espace perdu","date_begin":"1959-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/410/large/793_1.jpg?1668421780","poster_credits":"(c)Jef Verheyen, photo: Axel Vervoordt -  Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":33785,"title":"• 0794 • Espace transposée (Flandre)","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/088/842/large/794_3.jpg?1674572326","poster_credits":"(c)Jef Verheyen, photo: Markus Mühlheim / Kunstmuseum Bern - Jef Verheyen Archivee ","actors":"Jef Verheyen"},{"id":33885,"title":"• 0810 • Soleil II","date_begin":"1966-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/032/large/810_8.jpg?1721988998","poster_credits":"© SABAM Belgium, 2024, Philipp Schönborn","actors":"Jef Verheyen"},{"id":33935,"title":"• 813 • Les arbres roses (Pour mon ami Fontana)","date_begin":"1967-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/033/large/813_6.jpg?1721989305","poster_credits":"© SABAM Belgium, 2024, Studio Vercammen","actors":"Jef Verheyen, Lucio Fontana"},{"id":34029,"title":"Copy of Paul Klee (ed. Marcel Brion, 1955) from the artist’s library","date_begin":"1955-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/762/large/JV_70_04_01_b.jpg?1718805914","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Paul Klee, Jef Verheyen"},{"id":34241,"title":"• 0821 • Ruimte","date_begin":"1958-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/089/812/large/821_1.jpg?1682334105","poster_credits":"(c)Jef Verheyen, photo: Jan Liégeois - Jef Verheyen Archive","actors":"Galerie Iris Clert, Jef Verheyen"},{"id":35530,"title":"Mechelen Marauder","date_begin":"2014-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/315/large/2024_Jef_Verheyen_Annelien_De_Troij_OPB_F035.jpeg?1710864649","poster_credits":"© Carla Arocha \u0026 Stéphane Schraenen, photo Christine Clinckx / M HKA","actors":"Carla Arocha \u0026 Stéphane Schraenen  "},{"id":35532,"title":"Umrahmen","date_begin":"1972-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/314/large/95_v2.jpg?1710864366","poster_credits":"(c)Günther Uecker","actors":"Günther Uecker"},{"id":35533,"title":"Concetto Spaziale","date_begin":"1960-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/521/large/35533.jpg?1716883125","poster_credits":"© Fondation Lucio Fontana, Milano / by SIAE / SABAM Belgium, 2024, Museum Morsbroich, Leverkusen; Denis Bury","actors":"Lucio Fontana"},{"id":35534,"title":"Figures on the screen","date_begin":"1956-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/693/large/7b.jpg?1718625336","poster_credits":"© Gianni Dova, 2024, KMSKA – Flemish Community Collection, Rik Klein Gotink","actors":""},{"id":35760,"title":"Untitled (after a schematic drawing from 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SABAM Belgium, 2024, Baschang \u0026 Herrmann, München","actors":"Otto Piene"},{"id":35764,"title":"Untitled (voor Jef Verheyen)","date_begin":"1958-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/941/large/Vandenbranden_Guy.jpg?1721125230","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","actors":"Guy Vandenbranden"},{"id":35765,"title":"M 69, Monochrome blanc","date_begin":"1958-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/938/large/Klein_Yves.jpg?1721124452","poster_credits":"© The Estate of Yves Klein c/o ADAGP, Paris, 2024, ADAGP images","actors":"Yves Klein"},{"id":35766,"title":"Weisse Kugel","date_begin":"1961-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/841/large/UE_80.jpg?1721037517","poster_credits":"© SABAM Belgium, 2024, Archiv Lenz Schönberg","actors":"Günther 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Maertens","actors":""},{"id":35774,"title":"Torsions","date_begin":"1965-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/329/large/35774.jpg?1711372038","poster_credits":"© Fondation Walter \u0026 Nicole Leblanc / SABAM Belgium","actors":"Walter Leblanc"},{"id":35775,"title":"Pink Coco Lopez","date_begin":"2010-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/328/large/35775.jpg?1711369750","poster_credits":"SABAM Belgium, 2024 / SIAE, Andrea Rossetti, courtesy Pirelli HangarBicocca","actors":"Ann Veronica Janssens"},{"id":35776,"title":"Pluie bleue, (S 36)","date_begin":"1957-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/309/large/68.jpg?1710863283","poster_credits":"© The Estate of Yves Klein c/o ADAGP, Paris, 2024, ADAGP images","actors":"Yves 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Claude Roy, 1957) from the artist’s library","date_begin":"1957-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/667/large/JV_70_04_06_a.png?1718804692","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36184,"title":"Design drawing for a three-faced ceramic pot","date_begin":"1955-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/668/large/JV_72_03_87_d.jpg?1718200657","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36185,"title":"Linocut","date_begin":"1952-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/673/large/JV_72_03_83_a.jpg?1718201259","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36186,"title":"Postcard of the annual group exhibition in Vallauris (1953), design by Pablo Picasso","date_begin":"1953-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/674/large/JV_65_04.jpg?1718201860","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36187,"title":"Dani Franque (right) in the studio of the ceramics course taught by Olivier Strebelle at the Royal Academy of Fine Arts Antwerp","date_begin":"1952-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/676/large/JV_38_19_01.jpg?1718202350","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36189,"title":"Certificate of the courses taken at the Royal Academy of Fine Arts and the National Higher Institute of Fine Arts in Antwerp","date_begin":"1946-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/678/large/JV_07_20_01.jpg?1718282833","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36190,"title":"View of the shop window of Atelier 14 on Rubensstraat, Antwerp","date_begin":"1955-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/679/large/JV_38_19_02_a.jpg?1718283369","poster_credits":"© SABAM Belgium, 2024, FOMU collection, Fotomuseum Antwerpen, Frank Philippi","actors":"Jef Verheyen, Frank Philippi"},{"id":36191,"title":"Dani Franque and Jef Verheyen at Rubensstraat 14 in Antwerp, where they opened their ceramics shop Atelier 14","date_begin":"1955-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/684/large/JV_38_19_03.jpg?1718617664","poster_credits":"FOMU Collection, Fotomuseum Antwerpen, Gerald Dauphin","actors":"Jef Verheyen"},{"id":36192,"title":"Copy of Pottery and Ceramics (ed. Ernst Rosenthal, 1954) from the artist’s library","date_begin":"1954-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/687/large/JV_70_04_03.jpg?1718620067","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36193,"title":"• 0824 • Erotisch Keramisch","date_begin":"1957-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/689/large/824_2.jpg?1718621575","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36194,"title":"Collage with photographs of ceramics by Dani Franque and Jef Verheyen","date_begin":"1955-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/690/large/JV_38_19_04.jpg?1718623094","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36196,"title":"Study","date_begin":"1953-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/731/large/JV_72_03_82_a.jpg?1718701126","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36197,"title":"Colour study","date_begin":"1957-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/734/large/JV_72_03_41_a.jpg?1718702447","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36198,"title":"Invitation to the fifth exhibition of G58 in Middelheim Castle","date_begin":"1958-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/749/large/JV_01_02_16.jpg?1718711839","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen, Paul Bervoets"},{"id":36199,"title":"Poster for the 'Ad Reinhardt, New York / Francesco Lo Savio, Rom / Jef Verheyen, Antwerpen' exhibition in Museum Morsbroich, Leverkusen","date_begin":"1961-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/754/large/JV_53_07_a.jpg?1718798608","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36200,"title":"Publication of the exhibition Monochrome Malerei, curated by Udo Kultermann, Museum Morsbroich, Leverkusen","date_begin":"1960-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/757/large/JV_19_31.jpg?1718799804","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":""},{"id":36201,"title":"Pour une peinture non plastique (hardcover)","date_begin":"1967-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/758/large/JV_70_01_02_a.jpg?1718801804","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","actors":"Jef Verheyen, Guy Vaes, Ivo Michiels, Wout Vercammen"},{"id":36202,"title":"Guy Mees (left) and Jef Verheyen in the Tempeliershof in Weert, where they spent the summer together, painting and writing","date_begin":"1959-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/760/large/JV_39_27_01.jpg?1718802337","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen, Guy Mees"},{"id":36203,"title":"Copy of Les van Eyck (ed. Henri Hymans, 1923) from the artist’s library","date_begin":"1923-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/761/large/JV_70_04_07_a.jpg?1718804521","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36204,"title":"Copy of Philosophes taoïstes (ed. Gallimard, 1980) from the artist’s library","date_begin":"1980-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/766/large/JV_70_04_08_a.jpg?1718807074","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36206,"title":"Letter from Englebert Van Anderlecht to Jef Verheyen about their trip to Milan (9 March 1960)","date_begin":"1960-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/771/large/36206.jpg?1720008193","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Englebert Van Anderlecht, Jef Verheyen"},{"id":36207,"title":"'Het Manifest der Zeven' - preparatory notes for the New Flemish School","date_begin":"1959-01-01","poster_image":null,"poster_credits":null,"actors":"Jef Verheyen, Paul De Vree"},{"id":36223,"title":"Jef Verheyen by the window, Rubensstraat, Antwerp","date_begin":"1958-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/797/large/36223.jpg?1720431564","poster_credits":"FOMU Collection, Fotomuseum Antwerpen, Frank Philippi","actors":"Frank Philippi, Jef Verheyen"},{"id":36224,"title":"Copy of The Aztecs of Mexico (ed. George C. Vaillant, 1955) from the artist’s library","date_begin":"1955-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/798/large/img01032023_0008.jpg?1720438377","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36225,"title":"Publication of the exhibition 'Ceramiche di Fontana' in Galleria Pater, Milan","date_begin":"1962-01-01","poster_image":null,"poster_credits":null,"actors":"Lucio Fontana, Jef Verheyen"},{"id":36226,"title":"Lucio Fontana (left) and Jef Verheyen posing before their collaborative work 'Le Jour' at the home of the collector Louis Bogaerts, Knokke, 12 November 1962","date_begin":"1962-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/799/large/JV_39_23_01.jpg?1720439463","poster_credits":"© SABAM Belgium, 2024, FOMU collection, Fotomuseum Antwerpen, Filip Tas","actors":"Lucio Fontana, Jef Verheyen, Filip Tas"},{"id":36227,"title":"Postcard from Lucio Fontana in Paris to Jef Verheyen, 1959","date_begin":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/800/large/JV_03_06_a.jpg?1720440352","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen, Lucio Fontana"},{"id":36228,"title":"Jef Verheyen in front of his painting 'Zwarte Ruimte'","date_begin":"1960-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/801/large/36228.jpg?1720443229","poster_credits":"© SABAM Belgium, 2024, FOMU collection, Fotomuseum Antwerpen, Frank Philippi","actors":"Frank Philippi, Jef Verheyen"},{"id":36231,"title":"Leaflet 'Lucio Fontana - Hermann Goepfert - Jef Verheyen' in Galerie Christian Chruxin – situationen 60, Berlin","date_begin":"1965-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/806/large/JV_18_61_b.jpg?1720616254","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Lucio Fontana, Jef Verheyen"},{"id":36232,"title":"Journal published on the occasion of 'Weiss auf Weiss' curated by Harald Szeemann, Kunsthalle Bern","date_begin":"1966-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/807/large/Kunsthalle_bern_a.jpg?1720618242","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen, Kunsthalle Bern"},{"id":36233,"title":"Letter from Lucio Fontana to Jef Verheyen about friendship and artisthood (4 July 1961)","date_begin":"1961-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/813/large/1961_07_04.jpg?1720619727","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Lucio Fontana, Jef Verheyen"},{"id":36234,"title":"Poster for the exhibition 'Klein – Rotraut – Uecker – Verheyen' in Théâtre des Plans, Brussels","date_begin":"1965-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/814/large/JV_53_05.jpg?1720620069","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Yves Klein, Günther Uecker, Jef Verheyen"},{"id":36235,"title":"Copy of 'Yves Klein' (ed. Hannah Weitemeier, 1976) from the artist’s library","date_begin":"1976-01-01","poster_image":null,"poster_credits":null,"actors":"Yves Klein, Jef Verheyen"},{"id":36237,"title":"Invitation to 'Nieuwe Tendenzen' in Galerie OREZ, The Hague","date_begin":"1962-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/817/large/JV_01_02_07.jpg?1720621772","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Galerie OREZ, Jef Verheyen"},{"id":36238,"title":"Postcard from Günther Uecker to Jef Verheyen about his nail objects in 'Vision in Motion / Motion in Vision' in Hessenhuis, Antwerp (2 November 1959)","date_begin":"1959-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/818/large/1959_11_02_a.jpg?1720771629","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Günther Uecker, Jef Verheyen"},{"id":36240,"title":"Set of postcards with historical ZERO exhibitions, published by Galerie Denise Réne Hans Mayer, Düsseldorf, 1970","date_begin":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/820/large/JV_54_01_a.jpg?1720780853","poster_credits":null,"actors":"Galerie Denise Réne Hans Mayer, Jef Verheyen"},{"id":36241,"title":"Publication of 'ZERO. An Exhibition of European Experimental Art' in The Washington Gallery of Modern Art","date_begin":"1965-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/821/large/JV_54_02.jpg?1720782185","poster_credits":null,"actors":"Jef Verheyen"},{"id":36242,"title":"Invitation to 'DYNAMO ZERO 1959-1969' in Galerie Ursula Lichter, Frankfurt am Main","date_begin":"1969-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/822/large/JV_01_02_03.jpg?1720784750","poster_credits":"Scan: CKV - Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36243,"title":"Copy of 'ZERO' (ed. Heinz Mack \u0026 Otto Piene, 1961) from the artist’s library. Third and final issue of the periodical, titled ‘Dynamo’","date_begin":"1967-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/823/large/JV_54_03.jpg?1720785219","poster_credits":null,"actors":"Jef Verheyen"},{"id":36244,"title":"Manifesto 'ZERO der neue Idealismus' published on the occasion of the exhibition in Galerie Diogenes, Berlin","date_begin":"1959-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/824/large/JV_01_02_06_a.jpg?1720786950","poster_credits":null,"actors":"Galerie Diogenes, Jef Verheyen"},{"id":36245,"title":"Verloren Ruimte (Lost Space)","date_begin":"1965-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/826/large/Mees_Guy.jpg?1720787599","poster_credits":"© Guy Mees, 2024, Galerie Ronny Van de Velde","actors":"Guy Mees"},{"id":36246,"title":"• 0826 • Untitled","date_begin":"1961-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/827/large/826_1.jpg?1720788538","poster_credits":"© SABAM Belgium, 2024, © Daniel Meyer Photography, Lucerne / Courtesy Dierking, Zürich","actors":"Jef Verheyen"},{"id":36256,"title":"• 0827 • Zelfontmoeting (Self-Contemplation)","date_begin":"1958-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/851/large/827_1.jpg?1721044185","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","actors":"Jef Verheyen, Ivo Michiels"},{"id":36257,"title":"• 0828 • Untitled","date_begin":"1958-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/920/large/828_1.jpg?1721121696","poster_credits":"© SABAM Belgium, 2024, Museo del Novecento, Collection Boschi Di Stefano, Luca Postini / Commune di Milano","actors":"Jef Verheyen"},{"id":36258,"title":"Chinese dream stone with poetic inscription: The snow and the moon reflect light back to each other, 19th century","date_begin":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/924/large/Dreamstone.jpg?1721122168","poster_credits":"RMN-Grand Palais (MNAAG, Paris) / Thierry Ollivier","actors":""},{"id":36259,"title":"Two visitors looking at The Air is Full of your Warmth at the opening exhibition of G58 at the Hessenhuis","date_begin":"1958-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/991/large/6553_6.jpg?1721138839","poster_credits":"FOMU Collection, Fotomuseum Antwerpen, Gust Philippi","actors":"Gust Philippi"},{"id":36260,"title":"• 0829 • Schaal","date_begin":"1955-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/022/large/829_1.jpg?1721223270","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36261,"title":"Tea bowl, 12th century, Song dynasty, Jian kiln","date_begin":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/023/large/Tea_bowl_small.jpg?1721223567","poster_credits":"© RMN-Grand Palais (MNAAG, Paris) / Thierry Ollivier","actors":""},{"id":36262,"title":"Small cup of monochrome porcelain from China, early 7th century, Xing kiln","date_begin":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/024/large/Small_cup.jpg?1721223968","poster_credits":"© RMN-Grand Palais (MNAAG, Paris) / Thierry Ollivier","actors":""},{"id":36263,"title":"Kom","date_begin":"1955-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/026/large/20231115-JVA-62910.jpg?1721224610","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","actors":""},{"id":36264,"title":"• 0830 • Kom","date_begin":"1955-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/027/large/830_1.jpg?1721224796","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36265,"title":"Jef Verheyen. Venster op het oneindige (NL)","date_begin":"2024-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/028/large/cover-Jef-Verheyen-voorplat.jpg?1721810582","poster_credits":null,"actors":"Jef Verheyen"},{"id":36266,"title":"Jef Verheyen. Window on Infinity (EN)","date_begin":"2024-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/029/large/cover-Jef-Verheyen-voorplat.jpg?1721811350","poster_credits":null,"actors":"Jef Verheyen"},{"id":36270,"title":"Jef Verheyen posing before his triptych 'Lichtkathedralen'","date_begin":"1967-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/037/large/Lichtkathedralen.jpg?1721990420","poster_credits":"© SABAM Belgium, 2024, FOMU collection, Fotomuseum Antwerpen, Filip Tas","actors":"Filip Tas, Jef Verheyen"},{"id":36273,"title":"Jef Verheyen in front of his series 'Hommage à Mondriaan – Monet' in his atelier on Hoogstraat, Antwerp","date_begin":"1970-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/040/large/Dauphin_Hoogstraat.jpg?1721990850","poster_credits":"FOMU Collection, Fotomuseum Antwerpen, Gerald Dauphin","actors":"Jef Verheyen"},{"id":36275,"title":"Survey by the artist, form with colour test completed by Paul De Vree","date_begin":"1962-01-01","poster_image":null,"poster_credits":null,"actors":"Paul De Vree, Jef Verheyen"},{"id":36317,"title":"Painting pot from the artist’s studio","date_begin":null,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/082/large/JV_70_03_01.jpg?1722856674","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois on behalf of the Jef Verheyen Archive","actors":"Jef Verheyen"},{"id":36318,"title":"• 0831 • Untitled","date_begin":"1979-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/084/large/831_1.jpg?1722858192","poster_credits":"© SABAM Belgium, 2024, Ivo Faber","actors":"Jef Verheyen, Günther Uecker"},{"id":36319,"title":"Jef Verheyen presents his sculpture 'Le Vide' up against the sky","date_begin":"1965-01-01","poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/093/102/large/Dauphin_LeVide.jpg?1722864448","poster_credits":"FOMU Collection, Fotomuseum Antwerpen, Gerald Dauphin","actors":"Jef Verheyen"}]}