{"id":6041,"title":"Kus","dimensions":"","date_begin":"1966-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":76,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"poetry","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":6,"permalink":"kus","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"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":false,"category":{"en":"Print","nl":"Prent","fr":"Epreuve"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/012/676/large/Kus.jpg?1348771464","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","short_description":"","description":"The use of a typewriter and the graphic-geometric structure that defines some concrete poems are two elements that link concrete poetry to the constructivist and kinetic art that was extremely popular at the beginning of the Sixties. In the poems *Mij Ook! En ik?* (1966), *Kus* (1966), and *Brigitte Floorflex* (1966) for example, De Vree plays on this connection. By repeating words, which also usually form the poem’s title, without any spaces, De Vree fills a rectangular or square area. Because the letters in the different lines are the same but are not positioned directly underneath each other, the contrasting black and white creates a (light) fluctuation in these poems that is reminiscent of kinetic art."},{"locale":"nl","short_description":"","description":"Het gebruik van de typemachine en de grafisch-geometrische structuur waardoor sommige concrete gedichten gedefinieerd worden, zijn twee elementen die de concrete poëzie in verband brengen met de constructivistische en de kinetische kunst die in het begin der jaren zestig een grote populariteit kenden. In de gedichten *Mij ook! En ik?* (1966), *Kus* (1966), en *Brigitte Floorflex* (1966) bijvoorbeeld, speelt De Vree op deze verwantschap in. Door herhaling van woorden, die meestal ook de titel vormen van het gedicht, zonder spaties, vult De Vree een rechthoekig of vierkantig vlak. Doordat de letters in de verschillende lijnen wel dezelfde zijn, maar niet juist onder elkaar staan, ontstaat er, door contrastwerking van zwart en wit, een (licht)fluctuatie in deze gedichten die met de kinetische kunst verwant is."},{"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":40,"name":"Paul De Vree","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}