1922

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"Jozef Peeters was startled in 1954 when, in radio programme Kunstkaleidoscoop [Kaleidoscope of the arts], he heard an allusion to a number of mysterious sculptures that in 1922 van Ostaijen had supposedly submitted to the Tweede Kongres van Moderne Kunst [Second Congress of Modern Art]. He immediately put pen to paper and wrote to Maurits Bilcke — artist, critic, and historian of the abstract art in Belgium — that the latter could abandon his search for those sculptures. At the time, Peeters had unmasked the submissions as a typical joke by ‘crazy wee Paul’ and the Jespers brothers, who had intended to mock the constructivist seriousness. In his view, there was no need to revisit this, thirty years later. Incidentally, Peeters himself had not entirely 
succeeded in completely erasing the traces of the artistic joke at the time. When he plucked van Ostaijen’s sculptures from their pedestals, the catalogue for the Tweede Kongres van Moderne Kunst had already been printed. And so van Ostaijen's name stood proudly among those of sculptors such as Georges Vantongerloo and Alexander Archipenko."

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