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"... They cannot be reduced. They’re not representable. The claim of the complexity of their design is irreducible. They never give the impre
This page offers a selective glimpse into the Jef Verheyen (1932-1984) archive, painting a picture of the artist’s practice and the nature of
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Il est bon de vivre en ces temps-ci. Un tournant s'annonce qui sera essentiel dans l'Histoire. Il semble que tout incline vers sa juste vale
The artist’s archive contains an astonishing number of photographs. This is due, in part, to Jef Verheyen’s personal relationship with photog
In 1957, 25-year-old Verheyen moved to the modern metropolis of Milan, where he met Lucio Fontana (1899-1968), the Argentinian-Italian painte
In post-war Europe, posters were an essential part of the exhibition business. This collection opens up access to posters from most of Jef Ve
Travel was inherently meaningful to Verheyen. He travelled to immerse himself in architecture’s form language and lose himself in the singula
In the early 1970s, Verheyen paints his Lichtpijlen (‘Light Arrows’), and the laser paintings Eonen (‘Aeons’) and Arkturus. The artist has le
WINDOW ON INFINITY A painting is more than a representation of reality. That is why modern painting embarks on a quest to liberate the
Meditating on colourColour, light and texture: Jef Verheyen uses them to make us think about emptiness. He finds inspiration for this in East
A canvas with stainless steel reflectors, by Hermann Goepfert. A composition with mirror surfaces, by Christian Megert. A sculpted torsio
Painting with air and smoke Smoke, flames, rain and air… how can one capture the evanescence of these elements? That is what Piero Manz
Cathedrals of LightAfter monochromy and achromy, Jef Verheyen explores panchromy, embracing not just many colours but all the colours of the
Geometry and harmony Jef Verheyen continuously dialogues with art history. With his diptychs, triptychs and folding screens he links in