{"id":5577,"title":"Verbaal Gelaat","dimensions":"6 x (450 x 450 mm)","date_begin":"1969-01-01","material":"ink, paper","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Collection M HKA, Antwerp","cached_tag_list":"silkscreen edition","publishing_process_id":1,"annotation":"\u003cp\u003ePortfolio edition De Tafelronde containing 6 prints: Amsterdam, Revolutie, Contestical Mill, London, (H)Owl, Waar zijn mijn ledematen mijn zachte genitali\u0026euml;n.\u003c/p\u003e\r\n","date_end":null,"reference":"M00160","stream_count_app":37,"permalink":"verbaal-gelaat","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":true,"category":{"en":"Print","nl":"Prent","fr":"Epreuve"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/012/626/large/De_Vree__Paul__Revolutie__1968.jpg?1348654789","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003ePublished in 1969 by De Tafelronde in an edition of 50 copies, Verbaal Gelaat contains six silk-screen prints of several visual poems which De Vree had previously brought out in the collection \u003cem\u003eZimprovisaties\u003c/em\u003e\u0026nbsp;(1968) and would later largely reissue in \u003cem\u003ePo\u0026euml;zien\u003c/em\u003e\u0026nbsp;(1971). The title \u003cem\u003eVerbaal Gelaat\u003c/em\u003e\u0026nbsp;is an allusion to an expression used by Richard Kostelanetz, \u003cem\u003e\u0026lsquo;Imaged words \u0026ndash; worded images\u0026rsquo;\u003c/em\u003e. The work consists of visual poems in which De Vree exploits the possibilities of typography and of means that are not purely linguistic, limited as yet to simple graphic elements such as lines and blocks of colour. However, his use of photographic material in the form of a collage clearly anticipates the direction of his later and more engaged work. Whereas full use is made of the typographic possibilities of the typewriter in De molen der contestatie, the latter is abandoned in \u003cem\u003eRevolutie\u003c/em\u003e, (\u003cem\u003eH)Owl\u003c/em\u003e\u0026nbsp;and \u003cem\u003eLondon\u003c/em\u003e\u0026nbsp;in favour of a more radical graphic development of the word image. The granular grey tone of \u003cem\u003eWaar zijn mijn hoofd\u0026hellip;\u003c/em\u003e is reminiscent of newspaper photographs, while a photographic image is introduced in Amsterdam.\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eVerbaal Gelaat\u003c/em\u003e\u0026nbsp;werd in 1969 uitgegeven door De Tafelronde en bevat 6 zeefdrukken op 50 exemplaren van enkele visuele gedichten die De Vree reeds eerder liet verschijnen in de bundels \u003cem\u003eZimprovisaties\u003c/em\u003e(1968) en later ook grotendeels zou heropnemen in \u003cem\u003ePo\u0026euml;zien\u003c/em\u003e\u0026nbsp;(1971). De titel \u003cem\u003eVerbaal Gelaat\u0026nbsp;\u003c/em\u003everwijst naar de uitdrukking \u003cem\u003e\u0026ldquo;Imaged words \u0026ndash; worded images\u0026rdquo;\u003c/em\u003e van Richard Kostelanetz. Het zijn visuele gedichten waar De Vree gebruik maakt van de mogelijkheden van de typografie en van niet zuiver taalkundige middelen, vooralsnog beperkt tot eenvoudige grafische middelen als lijn en ingekleurd vlak, hoewel hier ook door het aanwenden van fotografisch materiaal in de vorm van een collage de tendens van zijn latere en meer engagerend werk zich al duidelijk laat manifesteren. Waar in \u0026lsquo;De molen der contestatie\u0026rsquo; volledig gebruik wordt gemaakt van de typografie van de typemachine, wordt deze in \u003cem\u003eRevolutie\u003c/em\u003e, \u003cem\u003e(H)Owl\u003c/em\u003e\u0026nbsp;en \u003cem\u003eLondon\u003c/em\u003e\u0026nbsp;verlaten ten voordele van een verdergaande grafische uitwerking van het woordbeeld. De korrelige grijstonen van\u003cem\u003e Waar zijn mijn hoofd\u0026hellip;\u003c/em\u003e\u0026nbsp;doen denken aan een krantenfoto, terwijl in \u003cem\u003eAmsterdam\u003c/em\u003e\u0026nbsp;het fotografische beeld wordt ingevoegd.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp style=\"text-align: justify;\"\u003e\u003cem\u003eVerbaal Gelaat \u003c/em\u003ea \u0026eacute;t\u0026eacute; publi\u0026eacute; en 1969 par De Tafelronde et contient 6 s\u0026eacute;rigraphies sur 50 copies de certains po\u0026egrave;mes visuels que De Vree avait publi\u0026eacute;s avant dans les collections \u003cem\u003eZimprovisaties \u003c/em\u003e(1968) et qu\u0026rsquo;il r\u0026eacute;int\u0026egrave;grera dans \u003cem\u003ePo\u0026euml;zien\u003c/em\u003e\u0026nbsp;(1971) plus tard. Le titre \u003cem\u003eVerbaal Gelaat\u003c/em\u003e fait r\u0026eacute;f\u0026eacute;rence \u0026agrave; l\u0026rsquo;expression \u0026laquo;\u0026nbsp;\u003cem\u003eImaged words \u0026ndash; worded images\u0026nbsp;\u0026raquo;\u003c/em\u003e de Richard Kostelanetz. L\u0026rsquo;\u0026oelig;uvre consiste en des po\u0026egrave;mes visuels dans lesquels De Vree exploite les possibilit\u0026eacute;s de la typographie et des moyens non purement linguistiques, limit\u0026eacute;s aux moyens graphiques simples tels que des lignes et des surfaces color\u0026eacute;es. Cependant, son utilisation de mat\u0026eacute;riel photographique sous forme d\u0026rsquo;un collage anticipe clairement la direction de son travail post\u0026eacute;rieur et plus engag\u0026eacute;. Dans\u0026nbsp;\u0026laquo;\u0026nbsp;De molen der contestatie\u0026nbsp;\u0026raquo;, on utilise la typographie de la machine \u0026agrave; \u0026eacute;crire, mais dans \u003cem\u003eRevolutie\u003c/em\u003e, \u003cem\u003e(H)Owl\u003c/em\u003e\u0026nbsp;et \u003cem\u003eLondon\u003c/em\u003e elle est abandonn\u0026eacute;e en faveur d\u0026rsquo;une \u0026eacute;laboration graphique plus radicale de l\u0026rsquo;image du mot. Les tons gris granuleux de \u003cem\u003eWaar zijn mijn hoofd\u0026hellip;\u003c/em\u003e font penser \u0026agrave; une photo de journal, tandis qu\u0026rsquo;\u0026agrave; Amsterdam, l\u0026rsquo;image photographique est ins\u0026eacute;r\u0026eacute;e.\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":40,"name":"Paul De Vree","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}