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32  De Vree to Verheyen 14.9.1964, Liefooghe, op. cit. p. 18

functionalist architect was of the same generation as De Vree; he had worked with Le Corbusier and strove for a radical form of social housing. The “synthesis of the arts” forms an ideological leitmotif in his work. The previous year, Braem had designed a pavilion for the “Integratie van de Kunsten” (Integration of the Arts) for the seventh Middelheim Biennial, incorporating a monumental photo montage with seventy panels related to this theme. In 1964, Braem completed the reconstruction of the nineteenthcentury fort in Deurne on the outskirts of Antwerp as the Arena sports and cultural centre. “Integratie 64” acted as an inaugural exhibition, and had to direct the attention of press and public to the ambitious project. Verheyen and De Vree invited visual artists and architects who favoured the notion of the integration (or is it interaction?) of the arts. The majority of these belonged to Verheyen’s international ZERO scene: Günther Uecker, Yves Klein, Lucio Fontana, Otto Piene, Heinz Mack, Victor Vasarely, Hermann Goepfert, Oskar Holweck, Wolfgang Döring and the architects Renaat Braem, Werner Ruhnau, Sebastian Paquet, Christian Megert, Hans Jochen Kirchberg, Nanda Vigo, Oskar and Zofia Hansen, and Urs Graf all accepted the invitation. Mack, Megert, Goepfert, Uecker and Vasarely provided works that had to be realised on site. To this end, they collaborated with local companies and suppliers. Fontana sent a design for a monumental, perforated iron sculpture with internal lighting, De tijd en de ruimte (Time and Space), which was produced to plan. Three monochrome colour tables by the recently deceased Yves Klein were realised with the permission of his widow. Verheyen’s father-in-law made a scale model according to Klein’s plans and the firm Acrylform carried them out. Verheyen thus played an important organisational role here, too, as emerges from a published letter by De Vree about the transportation of the pieces.32 The organisers had evidently learned from previous experience, because Verheyen is not mentioned anywhere as a co-organiser, although he is listed as an “ordinary” participant. He realised a project with Braem and showed documentation about his wall painting in the Volksschule (secondary school) in Frankfurt designed by Sebastian Paquet. The first issue of Plan, the architecture and art monthly, appeared as a publication for the show with a layout by Braem and a cover designed by Vasarely. Paul De Vree took care of the editing of the quadri134

Profile for Studio Luc Derycke

Jef Verheyen  

monography of the works of Jef Verheyen

Jef Verheyen  

monography of the works of Jef Verheyen

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