{"id":21234,"title":"• 0102 • Le Vide (ed. 20)","dimensions":"50 x 36 x 7 cm, base 1,5 cm (h)","date_begin":"1963-01-01","material":"Chromed metal","art_status_id":13,"legal_status_id":47,"category_id":118,"platform_id":1,"deleted":false,"asset_count":22,"stream_count":0,"collection":"Jef Verheyen Archive","cached_tag_list":"Jef Verheyen Ruimte Vlaams Landschap Le vide le plein","publishing_process_id":1,"annotation":"","date_end":"1965-01-01","reference":"","stream_count_app":204,"permalink":"102-ruimte-vlaams-landschap-n-18","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/586/medium_500/21234.jpg?1717084093","cached_actor_names":"Jef Verheyen, Sammlung Lenz","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Multiple","nl":"Multipel","fr":"Multiple"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/092/586/large/21234.jpg?1717084093","poster_credits":"© SABAM Belgium, 2024, Jan Liégeois / Jef Verheyen Archive","translations":[{"locale":"en","short_description":"\u003cp\u003eSculpture consisting of a window frame made of pleated aluminium (0,5 cm thickness), chromium-plated\u0026nbsp;afterwards, with a small base.\u003c/p\u003e\u003cp\u003eSigned and numbered (incised) on the bottom in roman numerals for example 'J.V. IIXX'.\u003cbr\u003e\u003cbr\u003ePhotographed by Gerald\u0026nbsp;Dauphin\u003cbr\u003e\u003cbr\u003eThe artist's concept of 'Le vide' was the key for the land art project (intervention) in Mullem in 1967.\u0026nbsp;\u003cbr\u003e\u003cbr\u003eThe prototype (57 x 36 x 7 cm) was made in 1965 by the artist's father-in-law, Leon Franque.\u003cbr\u003e\u003cbr\u003eVerheyen also conceived its counterpart; 'Le plein' as being the opposite\u0026nbsp;of 'Le vide'. However, 'Le plein' was only realised as protoype (65 x 41,5 x 7,5 cm).\u0026nbsp;\u003cbr\u003eBoth prototypes of 'Le vide' and 'Le plein' were exhibited during Verheyen's participation at the Biennial of Venice in 1970 (Belgian pavilion)\u003c/p\u003e\u003cp\u003eThe multiple was planned as an edition of 20, but it is unkown whether it was fully executed as such or not.\u003c/p\u003e","description":"\u003cp\u003e\u003ci\u003eLe Vide\u0026nbsp;\u003c/i\u003eis the ultimate window on infinity. It directs\u003c/p\u003e\u003cp\u003ethe gaze, to everything and to nothing. Looking\u003c/p\u003e\u003cp\u003ebecomes staring into emptiness. Art thus loses\u003c/p\u003e\u003cp\u003eits material form. In 1967, Verheyen and German\u003c/p\u003e\u003cp\u003eartist Günther Uecker hold a joint happening.\u003c/p\u003e\u003cp\u003eThey install\u0026nbsp;\u003ci\u003eLe Vide\u0026nbsp;\u003c/i\u003e– French for ‘emptiness’ or\u003c/p\u003e\u003cp\u003e‘the void’ – in a field, in Mullem, East Flanders.\u003c/p\u003e\u003cp\u003eThat open-air exhibition,\u0026nbsp;\u003ci\u003eVlaamse Landschappen\u0026nbsp;\u003c/i\u003e–\u003c/p\u003e\u003cp\u003eFlemish Landscapes – is a nod to Verheyen’s\u003c/p\u003e\u003cp\u003eidentity as a Flemish painter. His paintings are\u003c/p\u003e\u003cp\u003ealso voids, windows through which he explores\u003c/p\u003e\u003cp\u003ethe suggestion of infinite space.\u003c/p\u003e"},{"locale":"nl","short_description":"\u003cp\u003eSculpture consisting of a window frame made of pleated aluminium (0,5 cm thickness), chromium-plated\u0026nbsp;afterwards, with a small base.\u003c/p\u003e\u003cp\u003eSigned and numbered (incised) on the bottom in roman numerals for example 'J.V. IIXX'.\u003cbr\u003e\u003cbr\u003ePhotographed by Gerald\u0026nbsp;Dauphin\u003cbr\u003e\u003cbr\u003eThe artist's concept of 'Le vide' was the key for the land art project (intervention) in Mullem in 1967.\u0026nbsp;\u003cbr\u003e\u003cbr\u003eThe prototype (57 x 36 x 7 cm) was made in 1965 by the artist's father-in-law, Leon Franque.\u003cbr\u003e\u003cbr\u003eVerheyen also conceived its counterpart; 'Le plein' as being the opposite\u0026nbsp;of 'Le vide'. However, 'Le plein' was only realised as protoype (65 x 41,5 x 7,5 cm).\u0026nbsp;\u003cbr\u003eBoth prototypes of 'Le vide' and 'Le plein' were exhibited during Verheyen's participation at the Biennial of Venice in 1970 (Belgian pavilion)\u003c/p\u003e\u003cp\u003eThe multiple was planned as an edition of 20, but it is unkown whether it was fully executed as such or not.\u003c/p\u003e","description":"\u003cp\u003e\u003ci\u003eLe Vide\u0026nbsp;\u003c/i\u003eis het ultieme venster op het oneindige.\u003c/p\u003e\u003cp\u003eHet richt de blik. Op alles en op niets. Kijken wordt\u003c/p\u003e\u003cp\u003estaren in de leegte. Zo verliest de kunst haar\u003c/p\u003e\u003cp\u003emateriële vorm. In 1967 voert Verheyen samen\u003c/p\u003e\u003cp\u003emet de Duitse kunstenaar Günther Uecker een\u003c/p\u003e\u003cp\u003e\u003ci\u003ehappening\u0026nbsp;\u003c/i\u003euit. Ze plaatsen\u0026nbsp;\u003ci\u003eLe Vide\u0026nbsp;\u003c/i\u003e– ‘leegte’ in het\u003c/p\u003e\u003cp\u003eFrans – in een Vlaams veld in Mullem.\u0026nbsp;\u003c/p\u003e\u003cp\u003eDie openluchttentoonstelling,\u003ci\u003eVlaamse Landschappen\u003c/i\u003e, is\u003c/p\u003e\u003cp\u003eeen knipoog naar Verheyens identiteit als Vlaamse\u003c/p\u003e\u003cp\u003eschilder. Ook zijn schilderijen zijn leegtes, vensters\u003c/p\u003e\u003cp\u003ewaarmee hij de suggestie van een onbegrensde\u003c/p\u003e\u003cp\u003eruimte onderzoekt.\u003c/p\u003e"},{"locale":"fr","short_description":"","description":""},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":1232,"name":"Jef Verheyen","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}