Paul De Vree
Audio - Visuele Poëzie [A...
De Vree began experimenting with language in 1953 when he embarked on a radical path with young poets in De Tafelronde. The audiovisual poem
It is possible to borrow works from the M HKA’s collection under strict conditions in terms of security and climatic conditions. Loan takers
Concrete Poëzie [Concrete...
In 1962 Paul De Vree began to create concrete poetry as well as visual poetry. The coexistence of these trends means that it is not easy to p
Het Geëngageerde [The Eng...
To some extent, this is code for ‘politically or socially engaged art’. But only to some extent. Activism in art may also imply physical acti
The M HKA’s contemporary art collection has grown thanks to a combination of acquisitions, donations and long-term loans from various public
Permanent Collection / F...
FROM FILLIOU TO BIJL: ART AS LIFE In the space adjacent to the lavatories, we present a number of artists from the collection who play wi
After 1967, De Vree’s poetry became increasingly engaged and critical of society. In 1971, together with the Italian poet Sarenco, he founded
POETICAL LICENSE This notion emerged from a work by Sarenco when we were pairing him and Paul De Vree with Costis, during a reflection on
Ian Hamilton Finlay's Poor.Old.Tired.Horse. (POTH; 1962-1968) is one of the most important visual poetry magazines internationally. POTH not
From 1976 onwards, De Vree developed his ‘smoking technique’, so-called ‘smoke designs’, enabling him to draw figures in the black soot resid
The Dutch poet Frans Vanderlinde called his magazine Vers Univers (six numbers from May 1966 to September 1967) magazine for evolutionary poe